In Theaters Review: Slumdog Millionaire

Slumdog Millionaire (2008)

Directed by: Danny Boyle

Synopsis (Rotten Tomatoes): British director Danny Boyle takes another intriguing career turn with this heartfelt underdog tale. Jamal Malik (Dev Patel) is a street kid (or "slumdog") who has landed an appearance on India's version of the hit TV game show WHO WANTS TO BE A MILLIONAIRE? Jamal exceeds expectations on the show, and the producers alert the police after they become suspicious of his methods. The young contestant is subsequently arrested and is interrogated at the hands of a nameless police inspector (played by Bollywood star Irfan Khan). As the interrogation proceeds, Boyle tells Jamal's story through harrowing flashbacks that both show the terrible poverty of Mumbai and help explain how he knew the answers to the MILLIONAIRE questions. SLUMDOG MILLIONAIRE is a tightly woven story that has been expertly edited into shape. The contrast between Jamal's upbringing and his chance of escaping it on the show are adeptly juxtaposed. Mumbai is portrayed as a place of terrifying poverty and unforgettable brutality, and Jamal and his brother get into a never-ending succession of challenging situations. But the way Boyle ties together Jamal's life experiences with his answers on the show is quite brilliant, and the film really does run the full gamut of emotions as we see him growing up, falling in love, coming close to death, and teetering on the brink of escaping from his terrible predicament. The film belongs to Boyle's cast, who are mostly unknown outside of India. Patel, in particular, gives a startlingly mature performance that audiences are likely to remember long after the credits role on this affecting feature

Impressions that I Get: Danny Boyle has really established himself as an absolutely top notch director after the gem that was Slumdog Millionaire. This film walked quite the balance between being intense and entertaining while still mantaining excellent filmsmanship and showing the horrific beauty of poverty in India. The shots of the slums of Mumbai and Bombay, the cross country trains, and the rich urban centers were simply stunning. This was masterfully shot and edited, each sequence seeming fresh and overflowing with details.

As for the acting, Devi Patel turns in a great performance as the humble young man who has overcome everything to achieve his "destiny." His true love, Lakita, is not extraordinary in her role, but is very beautiful and the motif clip of her smiling could melt a heart of stone. The children that are used to play the younger versions of the characters are great and unbelievably adorable. Also, while the plot of Slumdog may be somewhat predictable, it is presented in an unique way through the flashbacks and question answers. This might seem like it would be simplistic and contrived, but it actually captures the complexities and "little things" of Jamal's life quite well. The irony of the last question simply put a smile on my face and, although the film seemed to lose a bit of steam at the end, I was glued to the screen for every minute. Feeling the pains and joys of the "Three Musketeers" was simply a viewing treat. Slumdog Millionaire was rich with detail and will take you to a land that few will ever see. Here's to another fine film of 2008. -AT

Acting (8.5/10)- Excellent job by Patel, solid supporting cast

Plot (8.5/10)- Could be considered predictable, but still kept me riveted

Cinematography (10/10)- Gorgeous, simply rich. Best I've seen in awhile

Originality (9/10)- Loved the way this was presented, stand out indie movie of the year

My Grade: A-

Review from the Vault: Memento

Memento(2001)

Directed (and written) by: Christopher Nolan

Synopsis (Rotten Tomatoes): Leonard Shelby (Guy Pearce) wears expensive, European tailored suits, drives a late model Jaguar sedan, but lives in cheap, anonymous motels, paying his way with thick wads of cash. Although he looks like a successful businessman, his only work is the pursuit of vengeance: tracking and punishing the man who raped and murdered his wife. His suspicions dismissed by the police, Leonard's life has become an all-consuming quest for justice. The difficulty, however, of locating his wife's killer is compounded by the fact that Leonard suffers from a rare, untreatable form of memory loss. Although he can recall details of life before his "accident", Leonard can't remember what happened fifteen minutes ago, where he is, where he's going or why. A former insurance investigator, Leonard is keenly aware of his handicap. Moreover, he's got the discipline to compensate as well as the motivation-the cruel memory of his beloved wife's last moments. Haunted by what he's lost, he's re-built his life out of index cards, photographs, file folders, charts, tattoos and obsessive habits that stand in for memory, fixing him in space and time and connecting him to his mission. Out of necessity, Leonard must rely on others despite being thoroughly ill-equipped to assess either their motives or basic decency. Leonard remembers his past-up to a point. But just who has Leonard become since losing the ability to hold together the fragments of himself? "Memento" mines this psychological terrain, using non-linear film narrative to mirror Leonard's own effort to interpret the random pieces of evidence he hoards. The murder, rewound in the opening frames, we discover, is logically the endpoint of Leonard's story. What we learn comes from a point earlier in time, a few moments and a few sentences prior to what we've already been shown. As Leonard's story unfolds, the meaning of events changes. Allies, enemies, victims, victimizers swap place almost kaleidoscopically.

Impressions that I get: So, I watched this movie for about the 6th time yesterday, proving to myself once again why it is the best film I've ever seen. Even though I feel like I have all the nooks and crannys of the film down, I still get more and more out out of it with each successive view. Not only is this movie structured in the most unique, yet bizzarely comprehendable, form imaginable, it also gets to some mind numbing philosophical questions with its excellent dialouge. What does it mean to have memory? Are we still human without memory? Does time exist if we don't have memory? This film isn't just an artsy, intellectual film, it is also clever and intriguing with its well engineered plot and film noir atmosphere and sound.

This film is not built solid from the ground up, with the basic characters and setting having the same meaning over time. It is just floating out there, and every time you think you have it figured out, you realize that there is just even more going on than you realized. That is one of my favorite aspects of the film, the film isn't simply entertaining you and doing all of the work, you have to keep thinking and reasoning yourself in order to try to comprehend the wide structure of Memtento. However, this is not just mind games for the sake of it. Nolan truly is trying to show people what the meaning of memory is while having a fun time with the murder mystery aspect of it as well. On all levels, this film is a home run becuase "the more you put in, the more you get out." I have spent a lot of time thinking about the importance of films like this and I can safely say that, when I saw Memento for the first time 4 years ago, it changed my expectations for movies. I began to realize that films were an art, not simply an entertainment. There was so much potential that could be utilized in a film that couldn't be done with a play, song, or painting. By choosing to create the complex chronology, surreal dynamics, and alternating storylines, Nolan was trying to reach the pinnacle of art in film. Now, I think that The Dark Knight, Batman Begins, Prestige, and Insomnia are all great movies (In the Dark Knights case, VERY great), but nothing matches Memento. For me at least. To paraphrase Leonard, "watching this movie is alot like waking." I might be lost or confused, but that feeling of prominence creeps over me like the sun rising over the horizon..- AT (Sorry if this review seemed terribly scattershot, my thoughts sort of tumbled out)

Acting (8.5/10)- Guy Pierce was fantastic, why haven't I seen him in anything else?

Plot (9/10)- Goes beyond film noir, the plot changes meaning as more is revealed

Cinematography (9/10)- Excellent, black/white balance with color, captures the "little things"

Orginality (10/10)- This is extraordinary.

My Grade: A+

Quick Review: Eastern Promises

Eastern Promises (2007)

Directed by: David Cronenberg

Synopsis (Rotten Tomatoes): The new thriller reteaming acclaimed director David Cronenberg with his A History of Violence leading man Viggo Mortensen, Eastern Promises is written by Steve Knight (Academy Award-nominated screenwriter of Dirty Pretty Things). As in the earlier film, director and star together explore the psyche, physicality, and fortunes of a man whose true nature may never be wholly revealed. The mysterious and charismatic Russian-born Nikolai Luzhin (Mr. Mortensen) is a driver for one of London’s most notorious organized crime families of Eastern European origin. The family itself is part of the Vory V Zakone criminal brotherhood. Headed by Semyon (Academy Award nominee Armin Mueller-Stahl), whose courtly charm as the welcoming proprietor of the plush Trans-Siberian restaurant impeccably masks a cold and brutal core, the family’s fortunes are tested by Semyon’s volatile son and enforcer, Kirill (Vincent Cassel), who is more tightly bound to Nikolai than to his own father. But Nikolai’s carefully maintained existence is jarred once he crosses paths at Christmastime with Anna Khitrova (Academy Award nominee Naomi Watts), a midwife at a North London hospital. Anna is deeply affected by the desperate situation of a young teenager who dies while giving birth to a baby. Anna resolves to try to trace the baby’s lineage and relatives. The girl’s personal diary also survives her; it is written in Russian, and Anna seeks answers in it. Anna’s mother Helen (Sinéad Cusack) does not discourage her, but Anna’s irascible Russian-born uncle Stepan (Jerzy Skolimowski) urges caution. He is right to do so; by delving into the diary, Anna has accidentally unleashed the full fury of the Vory. With Semyon and Kirill closing ranks and Anna pressing her inquiries, Nikolai unexpectedly finds his loyalties divided. The family tightens its grip on him; who can, or should, he trust? Several lives – including his own – hang in the balance as a harrowing chain of murder, deceit, and retribution reverberates through the darkest corners of both the family and London itself.

Impressions that I get: Viggo Mortensen is really an excellent actor. And I'm not talking about Aragorn. His performance really drives Eastern Promises and also captures the complexity of a Russian hit man. From the authentic Russian speaking to the simple gestures in his eyes, Mortensen is absolutely commanding in his role. Not to take anything away from Naomi Watts (who plays an innocent nurse who is trying to help a dead woman) or Vincent Cassel (who plays the impulsive and confused son of the gang lord), both of whom did fine jobs, but I cannot help raving about Viggo Mortensen. He has proven himself to be a master of the serious character who is solemn on the outside, but divided within himself on the inside (Check out A History of Violence as well.)

As for the movie as a whole, it was very well shot and gives one a great sense of the trechary and bloodiness of being in a prominent gang. All from an outsiders perspective as well, as the details of the plot are found by characters reading journals written by a dead prostitute who came from Ukraine for a better life (The "eastern promise".) Somehow though, this movie doesn't seem to "stick". I just can't see myself wanting to watch this again and again. Overall though, if you're looking for some fine acting and snapshot of the Russian mafia, give this film a whirl. (Quick Warning however, this is GRUESOME at parts. Cronenberg hides nothing.)-AT

Acting (9.5/10)- Viggo is the man.

Plot (7/10)- Not terribly memorable

Cinematography(8.5/10)- Very good, gets the nitty gritty urban feel

Originality (7/10)- Interesting, but doesn't stand out on its own

Review: No End in Sight

No End In Sight (2007)

Directed by: Charles Ferguson (Documentary)

Synopsis (Rotten Tomatoes): The first film of its kind to chronicle the reasons behind Iraq’s descent into guerilla war, warlord rule, criminality and anarchy, NO END IN SIGHT is a jaw-dropping, insider’s tale of wholesale incompetence, recklessness and venality. Based on over 200 hours of footage, the film provides a candid retelling of the events following the fall of Baghdad in 2003 by high ranking officials such as former Deputy Secretary of State Richard Armitage, Ambassador Barbara Bodine (in charge of Baghdad during the Spring of 2003), Colonel Lawrence Wilkerson, former Chief of Staff to Colin Powell, and General Jay Garner (in charge of the occupation of Iraq through May 2003), as well as Iraqi civilians, American soldiers and prominent analysts. NO END IN SIGHT examines the manner in which the principal errors of U.S. policy – the use of insufficient troop levels, allowing the looting of Baghdad, the purging of professionals from the Iraqi government and the disbanding of the Iraqi military – largely created the insurgency

Impressions that I get: Well I'm proud to say that the first documentary I review is not a brainchild of Michael Moore. Not that I have anything against Michael Moore,after all he is the pioneer of the genre and a true artist. I just feel as if his name is the only name associated with political documentaries, when we should be doing just the opposite by hearing a wide variety of opinions from a selection of filmmakers. Which is exactly what I did when I went out and found "No End in Sight". It might remind some of "Farenheit 9/11" due to its strong bashing of the way the Bush Administration handled the Iraq War. However, I believe that this documentary stands above "Farenheit 9/11" becuase it doesn't have the obvious sense of an agenda that Farenheit did (Moore clearly wanted to prevent George Bush from being re-eleceted in 2004, not that that was a bad purpose or anything..). This film was many years in the making and arrived at conclusions that were not post-huc, but rather well thought out and perfectly logical due to the ethos of the interviewees(many were serious insiders of the Iraq War/ Bush Administration) and the overall presentation of Bush/Rumsfeld/Cheney as being obviously clueless about the long term impact of their Iraq invasion. This does not have the feel of a liberal yuppie quacking about "peace and love" and why wars should never ever be fought, but rather a highly intelligent critic who has taken careful time to look at all of the facts on the table and, yet, can still not believe how poorly handled the entire Iraq conflict is.

The overall impact of this film is rather unsettling becuase it points to the futility of so many innocent American and Iraqi deaths that were all in the name of terrible management by an administration that rushed into a war that it had no idea how to solve after the easy part was over. The key fact that Fegurson is trying to get across is that the Iraqi insurgancy was not some random occurance, but rather a direct result of Mr. Bremer's irresponsible decesion to not listen to expert advice, put inexpereiced newbies in control of extremly important tasks, destablize the standing government, and to disband the entire Iraqi army when the evidence was clear that it would be a diastorous idea. To be fair though, the situation in Iraq has stabilized due to the much needed surge of troops and a new Secretary of Defense in Robert Gates, among many factors. But even though there is no longer "no end in sight", this is still an extremly important film to watch because those "who do not learn from history are condemned to repeat it." Hopefully, we never have to find ourselves putting American soldiers and innocent civilians in harms way for something that is not absolutely necceserry or unavoidable.

Well, it's kind of hard for me to do a traditional movie review becuase this was a highly serious documentary that focused on logical analysis and conclusions, although it was presentated with lots of great Iraq/archival footage and was never a bore for the eyes. Overall, I would recommend that you go see this film and judge for yourself whether you think Mr. Ferguson's claim is strong or not. But don't just write it off becuase you are sick of hearing anti-Bush Administration stories. This is a highly qualified film that deserves, at the least, the attention of every American for a few hours. After all, knowledge is power and that can set you free.- AT

Grade: If I had to, I'd give it an A

Movie Review: Black Book

Black Book (2007)

Directed by: Paul Verhoeven

Synopsis (Rotten Tomatoes): Dutch filmmaker Paul Verhoeven made his name in Hollywood with films such as ROBOCOP, BASIC INSTINCT, and STARSHIP TROOPERS. But Verhoeven got his start in the industry by making films (the acclaimed SPETTERS and SOLDIER OF ORANGE among them) in his native country, and it's to Holland that he returns for BLACK BOOK--his first Dutch film in 20 years. The story is set during the final days of World War II in Holland, and follows a Jewish singer named Rachel Stein (Carice Van Houten). Rachel attempts to avoid the Nazis and remains in quiet hiding until her family is brutally slain, causing her to join up with a resistance movement. On a subsequent undercover mission, Rachel crosses paths with a smitten German general named Ludwig Muntze (Sebastian Koch), with whom Rachel begins a relationship in order to feed vital information back to her colleagues in the resistance. But as the action and bloodshed escalate, Rachel realizes that she has genuine feelings for Muntze, and soon she is in enormous danger. Verhoeven's film is wildly ambitious and takes many intriguing twists and turns during its 145 minutes. BLACK BOOK commanded the largest budget of any film to be produced in Holland, and it shows. Explosions litter the screen, plenty of car chases ensue, and wince-inducing injuries and deaths propel the action. The director isn't afraid to criticize his fellow countrymen and inserts a fascinating subtext about the actions of the resistance fighters, asking some uncomfortable questions about the similarities between their behavior and that of the Nazis. Van Houten lights up the screen throughout and is surely destined for bigger things, and while the tumultuous experiences her character undergoes might push the boundaries of reality at times, Verhoeven has pointed out in interviews that Rachel is a composite character who encompasses the merged experiences of many real people from the era

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Impressions that I Get: Looks like I've decided to leave the States once again to check out "Black Book" from Holland. At first glance this movie looks like a typical Hollywood-esque WW2 escapade filled with explosions, sex, and Nazis. Even Verhoeven's directing credits look slightly sketchy as he has done such "masterpieces" as Starship Troopers and Robocop. However, I can say I was pleasantly suprised at how good the acting is and how well the intricate plot played out. Verhoeven seems to be on a mission to show that the Nazis vs the Dutch Resistance was not a simple good against evil match. Many times the main general of the Gesptapo seems to be more admirable than the vengeful Dutchmen. Each character is delightfully complex, especially Rachel Stein who is played brilliantly by Carice Van Houten. She is on a mission to save more innocent Jews from being murdered after her family was killed in a shooting early in the film. Van Houten is perfect for this role as she is daring, clever, and incredibly sexy as Miss Stein.

The plot twists and turns like a snake, sometimes making the movie feel just a little bit too preposterous. Overall though, I was taken into the terrifying atmosphere of Holland under Nazi rule and the concept that you could trust no one. The problem with many WW2 films is that they collapse under their own attempts at greatness (Pearl Harbor for example). However, Black Book just trys to show the life and miserys of one small group of Dutchmen, Gestapo, and Rachel Stein. This small scope allows for an intimacy to be created between the audience and the band of characters. There are not a million extras, but rather a few crucial characters that are actually worth caring about. This, perhaps, is the key to why Black Book stands out in the genre.

Although Black Book is rather cumbersome in its length (2 hr, 20 min), it still manages to keep the audience paying attention. Sometimes it felt contrived, as if the only reason I was watching was to wait for the next twist to arrive out of the blue. On the most part though, the film feels very natural and goes for a different perspective on the Dutch Resistance. I admire Verhoeven for admiting that his countrymen had their faults during the war, as most directors would prefer to do the cliche Patriotism (cough, a vast majority of American war movies, cough). This sort of daring and ambition seems unexpected from Verhoeven, but he really does a fine job of showing all of the angles of war- AT

Acting (8.5/10) -Van Houten steals the show

Plot- (7.5/10) - Good, but felt contrived at points

Cinematography- (7/10)- Solid, but nothing to write home about

Originality- (8.5/10)- Gotta love the daring Verhoeven has

My Grade: B

Quick Shout Out to Some Foreign Films

Wait, so America isn't the only place where movies are made?

Yes it is true. Last week's reviewing of the Irish film "Once" made me want to throw some quick mentions to some great foriegn movies I've seen recently...

Persepolis(2007/France)- A French film based off of the award winning biographical graphic novels of Marjane Satripi. Tells the emotional coming of age story of a young girl growing up in Iran during the revolution of the 1970's. Depicts the desecent into theocracy and the warfare that Iran is known for today. Artisically stunning, great characters, and will leave you with a far better understanding of the Middle East (Yes, they are normal people who have had to live under horrendous governments over the last several decades). Grade: A-

Good Bye, Lenin!(2004/Germany)- This movie tells of the great culture clash that occurs after the re-unification of Germany through a somewhat comedic styling. A young man's mother goes into a coma during the era of socialist Germany, but wakes up after 1989. If she is told any shocking news, she might die. So, the plot is created that she must be made to believe that she is still living in East Germany when the country is anything but. There is also a more intense story about the seperation of the family and the difference of ideals between the divided country going on as well. Overall, another fantastic film and will garner a new found appreciation for the difficulties that Germans have had to go through since WWII. Grade: B+-

The Lives of Others (2006/Germany)- Yet another movie based around German reunification era, but who can blame the filmmakers, this is perhaps the most fascinating time of an entire generation. This is a much more serious film that revolves around an East German intelligence officer who is sent to spy on a potentially anti-socialist party actress/playwright couple. It is purposefully slow at points, as it truly allows the viewer to see as the viewpoints of the spy change as he realizes how much of his humanity he is losing in this communist country. The spy, without the couple's knowledge, becomes very emotionally connected to their lives and begins to see all the faults in the corrupt ridden intelligence minister who is his superior. Fantastic acting and a poignant storyline really lift this drama up into the peaks of storytelling. Grade: A-

Pan's Labyrinth (2006/Spain)- Guillermo del Toro is an excellent director with a flair for fantasy that exceeds many of his contemporaries. A fairy tale that is anything but cheery takes place during the equally gruesome time of the Spanish Civil War. Ofeila lives in a Facist military camp, but soon discovers a imaginary world in which she must confront her greatest fears to complete three tasks. As her Facist uncle begins to get even more violent, so does the enemies that Ofeila must face. This is dark fantasy at its best and has one of the greatest/most original art designs ever seen in modern film. While it wasn't perfect, it was certainly one of the more exciting films of the year. Grade: B+

Some Other Foriegn films that are on my to-see list: A Christmas Tale (France), Slumdog Millinoaire (India), Run Lola Run (Germany), and the Counterfieters (Germany).

Movie Review: Once

Once (2007)

Directed by: John Carney

Synopsis (Rotten Tomatoes):The Irish romance ONCE may be a musical, but it is miles away from the traditional Hollywood idea of people bursting into song. Glen Hansard (frontman for indie rock band The Frames) plays the guy, a street musician who is playing for change when he meets the girl (Marketa Irglova), an immigrant from the Czech Republic. The pair immediately bond over their shared love of music (he is a guitarist, and she plays the piano), and the film chronicles their tentative relationship. Both are weighed down by plenty of baggage: his songs are fueled by a painful breakup, and she is a young mother who left her husband behind in her native country. Like the independent favorite BEFORE SUNRISE, ONCE is a simple, sweet drama that doesn't rely on an elaborate plot. With its use of digital video and handheld cameras, ONCE matches its spare visual style to its intimate mood. Each moment feels stolen from real life, and the story is at once familiar and fresh. Driven more by music than by dialogue, ONCE features a stirring soundtrack of heartfelt indie rock sung by Hansard and Irglova. Before his foray into film, director John Carney (ON THE EDGE) played bass in The Frames, and his passion for music is clear in this modern musical that hits every note perfectly.

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Impressions that I Get: Just as the beautiful song "Falling Slowly" is comprised of a few simple chords in C Major and a basic melody, this movie is nothing fancy, but connects on love and music in a way that the multi million dollar Hollywood flicks never could. On the music front, this film really shines with exceptional original songwriting from Glen Hasard and Marketa Irglova. The fact that these are real musicians playing their own songs adds an excellent step up from the lip syncing and fake guitar playing that occurs in way too many movies. Although this movie could technically be considered a "musical", it plays out so naturally that you never get that sense of "random burst into show stopping song" that occurs in almost every musical. The music is the plot of the story to put it simply, not the other way around.

The other strong aspect of this movie was the portrayal of love. To be frank, it's so rare to see a film that can show, not just tell, that love is not about the number of passionate kiss/sex scenes. The point of "Once" may very well be that love is about connection(emotional, not physical) and, in this case, the music is what comes out of the connection between the man and the woman. (Quick sidenote: The characters never recieve names in the film, this adds to a universal appeal). It was a big step forward in the endless topic of "Love in movies" and I hope other directors take Carney's advice by turning down the pointless sex and turning up the deep connections that bring two people together.

"Once" really has nothing to point out that is clearly bad, this fact might have been one of the many reasons that garnered it a 97% rating on Rotten Tomatoes and a few Oscars. The film is concise and simple, but don't let that fool you into thinking that this is just two people singing love odes to each other. It goes above and beyond what is typically expected and leaves the audience wondering why movies that cost 10 times as much have 10 times less impact. The reason might be that Hollywood is forgetting that all you need for a movie, at its base, is some characters and a message. That's all "Once" used and boy did it sing sweet..-AT

Acting (7/10)

Plot (7/10)

Cinematography (8/10)

Originality (9.5/10)

My Grade: A

synecdoche. wow

"There are no extras in life, everbody is the lead actor in their own life story"

Alright, I won't even bother doing a conventional review for the recent Charlie Kaufman film Synecdoche New York. Even generalizing enough to call this movie a "movie" is an insult to breathtaking vision of Kaufman in a story where there is no certain reality except the fact that we are all moving slowly toward our death, trying to make the most of our time. Nothing I write here is going to do this film justice except my plea for you to go see it yourself. Frankly, I left the theater with my jaw loose and with more questions that I have ever had after watching a movie, and at a complete loss for a reasonable explanation of what just transpired over the last two hours. Yet, I still mantained the notion that something incredible had just happened. This movie is meant to be experienced, not read about. Be wary to approach this with an open mind as it is probably unlike anything you have ever seen before or will see again. Sometimes I feel like the closer one is to death or loss, the more real and honest the art becomes becuase you realize that you may never have the chance to think or speak again. This movie is art. -AT

Review from the Vault: American Beauty

(Review from the Vault)

American Beauty (1999)

Directed by: Sam Mendes

Synopsis (Rotten Tomatoes): AMERICAN BEAUTY tells the story of Lester Burnham (Kevin Spacey), a suburban father who snaps when he becomes disgusted with his stale, repetitive existence. Burnham lets us know in voice-over from the film's opening that this is the day he dies (using the SUNSET BOULEVARD flashback approach), a technique that adds an inevitable tension to the proceedings and keeps the story moving forward at all times. On a whim, Lester quits his job and begins a regression into young adulthood, lifting weights, smoking pot, doing nothing, and discovering the overflowing sexuality of his 16-year-old daughter's best friend, Angela (Mena Suvari). His wife, Carolyn (Annette Bening), has her own midlife crisis of sorts. A real estate agent, she experiences a youthful awakening when super-agent Buddy Kane (Peter Gallagher) seduces her repeatedly. Meanwhile, Jane (Thora Birch), the Burnhams' daughter, is pursued by Ricky (Wes Bentley), the mysterious boy next door who carries a video camera around with him at all times. When Ricky's militaristic father, Colonel Fitts (Chris Cooper), discovers something potentially horrifying on one of his tapes, and when Carolyn's rage for Lester's actions boils over, the time bomb finally explodes.

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Impressions that I Get: There are just not enough words to do this film justice, in my opinion. I was locked in to the purely authentic aura of Lester Burnam's suburban America from start to finish of this movie, something which does not happen all of the time. The story might be built on some generalizations, but never did I feel as if there was anything cliche or predictable about the way the film played out. Sam Mendes wasn't trying to be swave or prophetic as he made this, he was simply trying to capture what it meant to be alive for a few, very insignificant people that appeared to be average on the surface, but contains layers upon layers of complexities that were slowly revealed as the movie went along. The acting was stellar with especially standout performances from Kevin Spacey and Chris Cooper (the racist and harsh former army colonel), characters that seem to directly contrast in a subtle, but poignant manner. The style in which "beauty" is presented is so stunning and fresh that the whole point of the movie may very well be that to be simply alive is to be surrounded by beauty. There is a film clip of a paper bag "dancing" in the wind inside the movie and the way it was presented struck me as being one of the best scences in a movie I had ever seen. On top of that, the ending monolouge by Burnam (Spacey) is perhaps one of the best monolouges I have ever heard in a movie either. But watch it for yourself and take away what you will. As stated, my words hardly capture the excellence of this movie and I would politely reccommend that you go out and see this movie sometime soon if you already haven't. The Oscars don't get it right all of the time, but they really nailed it when this won Best Picture. -AT

Acting (9.5/10)

Plot (8/10)

Cinematography (9/10)

Originality (9/10)

My Grade: A (But it's close to getting an A+)

Review: Rocket Science

Rocket Science (2007)

Directed by: Jeffrey Blitz

Synopsis (Rotten Tomatoes): Jeffrey Blitz (2002's SPELLBOUND) directs this comedy that follows in the footsteps of teen outsider indies such DONNIE DARKO, THUMBSUCKER, NAPOLEON DYNAMITE, and RUSHMORE. Set in New Jersey, the film follows Hal Hefner (impressive... Jeffrey Blitz (2002's SPELLBOUND) directs this comedy that follows in the footsteps of teen outsider indies such DONNIE DARKO, THUMBSUCKER, NAPOLEON DYNAMITE, and RUSHMORE. Set in New Jersey, the film follows Hal Hefner (impressive newcomer Reese Thompson) in his attempts to go through high school unnoticed. This is made considerably harder by his obvious stutter and inability to verbalize even the most basic statements, not to mention his thoughts and feelings. Bringing him no help are his strange and abusive older brother Earl (Vincent Piazza), his recently divorced parents, his mother's live-in boyfriend, and his school's inadequate speech therapist. When the school's bossy, attractive debate champion Ginny Ryerson (Anna Kendrick) tries to recruit Hal as her debating partner, good sense tells him no but his hormones cry yes, and soon Hal finds himself confronted with growing feelings for Ginny as well as the looming humiliation of having to compete in the state finals. ROCKET SCIENCE features a good cast of relative unknowns, who with the help of a solid script, convey the pangs of adolescent angst and the awkwardness of high school. The film treads familiar territory but does so well, sticking to the story and not getting too caught up in style. The film's soundtrack, which features songs from Clem Snide frontman Eef Barzelay, perfectly matches its indie pedigree.

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Impressions that I Get: Although this film didn't have the name Wes Anderson attached to it, there is no doubt that Jeffrey Blitz had the quirky indie director in the back of his mind somewhere while making Rocket Science. The film thrives on its own hipness in which the poetic narration that plays throughout the movie seems as if it were taken from a coffee house philosophy disscussion, and I don't mean that in a bad way. Even the classic themes of high school disillustionment, failed teenage love, and divorce all appear in one way or another throughout the movie. The only shortcoming that I feel Rocket Science has is that it doesn't bring a ton of new ideas to a genre that is based in creativity and uniqueness. However, this film really did capture the spirit of what it meant to be Hal Hafner thanks to a stellar acting job by Reese Thompson. The trademark stutter was not just captured in the voice, but in the scared and shy way that Hefner lived his life. The more the movie went on, the more connected I felt to the character of Hal, his sorrows became the audience's sorrows and vice versa. The other standout part of this movie to me was the fantastic score that matched acoustic instruments with frantic rhythms, yet overall added a very complete feature to the movie that matched the bizzare scenarios it often was accompanying.

While this movie may have had a few shortcomings, the script was very well written and captured the contrast between the fact spewing, million words a minute debater Ginny and poor, stumbling Hal Hefner beautifully. Regardless of who you relate to more, one cannot deny that Rocket Science made you feel a little more empathy for the little guy whom we all have seen, but never heard. -AT

Acting (9/10)

Plot (7.5/10)

Cinematography (7/10)

Originality (7/10)

My Grade: B+- (yes, that is indeed a b plus minus, that oft forgotten grade that falls between the B and the B+)

First Review: Clerks

CLERKS (1994)

Directed by: Kevin Smith

Synopsis (IMDB): Made for less than the cost of an SUV, Kevin Smith's first film finds 22-year-old Quick Stop clerk Dante Hicks (Brian O'Halloran) called into work on his precious day off. There he is besieged by customers ranging from the agitated to the insane, not to mention Randal (Jeff Anderson), the clerk from the video store next door whose commitment to service is made clear when he observes, "This job would be great if it wasn't for the f@&%!#* customers." Dante's love life is a shambles, and the situation at the store goes from bad to worse, but he and Randal are never so beleaguered that they can't find time to discuss why the destruction of the Death Star in RETURN OF THE JEDI may have been morally dubious (uninvolved contractors were probably aboard). In fact, it was the clerks' clever dialogue, saturated with pop-culture references, that elevated CLERKS to cult-hit status among Generation-Xers and transformed Kevin Smith from film school dropout to indie auteur. Smith himself plays Silent Bob, while Jason Mewes plays Jay, his drug-dealing other half. Together the duo provide added comic relief, continuity, and wisdom in each of the the director's films.

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Impressions that I Get: As I was viewing this, it became very clear to me where Judd Apatow got his original inspiration for his recent string of off-kilter (and especially dirty) comedies. Kevin Smith makes hilarity out of the most mundane setting you may ever see: A run of the mill Conveinance Store. While just plain filthy sex jokes and bizzare occurances such as guidance counselors searching for the perfect egg dozen and philosophical musings on Star Wars may leave a lot of people shaking their heads, I found it to quite entertaining as one could never possibly guess what would occur next. While the film clearly lacks any sort of extravagent plot or cinematic trickery, it more than makes up for it with the joy ride of odd characters and profound (sometimes at least) dialouge between the clerks. However, a fair warning to anybody who can't handle their fair share of perverted humor, as Smith loads it on and loads it on often. It doesn't suprise me that NC-17 was the intial rating for this movie until Smith filed a lawsuit to bring it back down to "R". With all of that in mind though, this movie is one of the better indie comedies I've ever seen and probably the best Kevin Smith has ever made. As Randal ironically says to Dante at the end of the film, "You're so obsessed with making it seem so much more epic, so much more important than it really is. Christ, you work in a convenience store". Yet after watching this, being a store clerk really doesn't really seem all that bad. -AT

Acting (7/10)

Cinematography (5/10)

Plot (5/10)

Originality (9/10)

My Grade: B+ (No, I don't go directly by the math)

Rating system (for reference)

Quick note on rating system used:

I will have four categories in which the movie is given a score out of ten. They are meant to balance each other out so that if a movie is lacking in one particular regard, it doesn't bring down the whole film.

Categories (and the criteria used to judge them)

1. Acting (Do you see the actor or do you see the character? How much passion and nuance is put into each character?)

2. Cinematography (Is the film visually entertaining with various vantage points? Is the scenery and setting well shown and does it add much to the atmosphere?)

3. Plot (Does the story keep you on your toes and anticipatory? Is there a certain degree of complexity that requires thought and perhaps multiple viewing to fully grasp?)

4. Originality (Does this film play as something I have never seen before? Will it stand out in a crowd when compared to other movies of the year?)

welcome/intro

Hello all! I have always been an avid watcher of all kinds of films whether they be new or old, independent or major,tragedy or comedy. However, I've felt a recent urge to document my findings in both good and bad (but mostly good) films for both my own sake of rememberance and for others potential enjoyment or viewing. I tend to lean towards movies that I find to be more nuanced and artistic rather than your average Hollywood "rainy day" action or comedy, but I do this becuase I believe people (including myself) would be more inclined to read about something they haven't seen or is worth multiple viewings. I am not trying to be a pompous ass who thinks he knows more than anyone else, but rather a critic who is trying to find out which films have substance rather than "sizzle". I will usually do not do films that are currently in the box office since I don't make my ways to the theaters often and I will typically award a letter grade to each film at the end of my post. I take any suggestions for movies worth watching and I hope you can take something away from me too. thanks!

I'll get to actually reviewing next week, but for now I'll leave this list of my top ten favorites with some description for each.

Here is a current list of my top ten favorites (as always, this is very subject to change)

1.Memento (Christopher Nolan is incredible, the most mind blowing concept ever put into play. The meaning of time and memory changes after seeing this.Why have I never seen Guy Pierce in anything else?)

2.No Country for Old Men (I left the theater with my jaw dropped after this, I thought the Coens could never beat Millers Crossing. sounds of silence, unbelievable cinematography, great acting. They exceeded the limits of Cormac McCarthy's book)

3.School of Rock (A personal favorite that changed me from being non-musical to now calling my music one of my passions. Mostly fun, but communicates a strong message for not only the art of "rock", but music in general that is so rarely seen these days.)

4.Little Miss Sunshine(Great ensemble cast with a message that tightropes down the line between comedy and family tragedy. captures what it means to be a dysfunctional family in the truest way I ever seen.)

5.Donnie Darko (Ahh, the pop movie of dark, independent films. Every time I watch this, I always end up with more questions than the time before. still, ed kelly (with great acting from jake g.)brings philosophy and angst into a film that communicates to the dark side of all of us.)

6.Big Fish (A Tim Burton that is oftentimes forgotten, but which I think conveys the essence of what it means to tell a story and be a storyteller. In an age where the oral tradition of stories is lost and replaced with video games and the internet, this movie captures just that.)

7.Adaptation (Wow, could there be any more inventive, yet quirky screenwriter that Charlie Kaufman? He really takes it to the next level here by inserting himself into the plot of a story that is so complex you'll just have to watch to understand. Trust me, this film hurts to think about sometimes.)

8.There Will Be Blood (A very recent movie, but it is almost timeless in it's John steinbeck-esque tale of a father and son in a land where greed rules over humility. The portrayal of religion with Paul Dano as the minister is very interesting. The scope of this movie is just stunning, P.T. Anderson is great.

9.American Beauty(I had not seen this movie until after it won best picture, but it really did live up to all of the critical acclaim it recieved. Kevin Spacey is phenominal and the sam mendes doesn't try to be too clever or emotional. He just shows what life and beauty is. Scene with the plastic garbage bag and the wind gives me chills everytime I see it.)

10.Almost Famous (This film truly made me want to get out and make something of my young life. The coming of age story of both the boy and the band blends perfectly and touches a nostalgic chord. Acting isn't incredible, but the story is perfect.)