Incendies

Denis Villeneuve, 2010

IMDB

4/5

Every family has their secrets. The secrets can vary in severity. Some are innocent, like a mother that had gone on a momentary shoplifting excursion decades earlier. She lets it slip out over a dinner where she drank one too many glasses of wine with her college-aged kids. They all laugh about it, “oh mom!”. But some are more painful. Infidelity, buried under years of silence. Some are incomprehensible. Abuse, confinement, torture. Rarely are family secrets as brutal as the Marwan family secrets. Instead of discovering the secrets from their mother directly, they must learn about them from her last will and testament as her former employer / notary reads it all to them. Their mother was a woman that they appear to have never known fully, a woman that they struggled to understand. Daughter Jeanne is more restrained as she attempts to process it all, while twin brother Simon sits frustrated. Like most people, they assume the whole last will and testament process would be a rather efficient one. One where they could simply go through the typical procedure and get some closure and move on with their lives.

Their search for the newly discovered, unknown blood relatives leads them on an emotional journey, mostly traveled by Jeanne while Simon sits with it all for a while. The film is largely this search for answers. Villeneuve is a filmmaker not afraid to make his audiences endure some of the details. He is unrestrained, unfiltered, unapologetic. Because of this, Incendies itself is a difficult film to watch at times. The story itself is heavy. As the layers of the onion are unpeeled, the emotional toll grows bigger and bigger. Mélissa Désormeaux-Poulindoes a fantastic job with her Jeanne character. Empathetic and desperate for answers, you can see the weight growing on her. She must retrace steps of her mothers past, completely oblivious to the fact that they are places that her mother was so desperate to get away from. Her mother was so determined to create a new life for herself and her family. She was so determined to provide a life for her children that would differ from her own. A life without the same struggles, the same pain, the same subjection, the same drudgery. But while she was able to geographically escape the torture of her past, she was clearly never able to fully escape it psychologically. She must have realized in her final days that her children must know the truth, must know their true lineage. An exploration into the idea of future generations carrying their ancestor’s past, whether they like it or not. The story is a persevering attempt to seek closure, and you seek it as much as the Marwan twins do. You get the closure you’re looking for, leaving you wondering if it’s even enough after such a gripping story reveals such brutal truth.

Restrepo

Sebastian Junger & Tim Hetherington, 2010

GoWatchIt

4/5

Filmmakers Sebastian Junger and Tim Hetherington follow the 2nd Platoon of Battle Company through the Korengal Valley of Afghanistan in 2010, at that time regarded as the deadliest place on Earth.

Restrepo, named after a fallen platoon medic, is basically the equivalent of strapping a GoPro camera to a filmmaker’s helmet and sending him into intense action with actual American soldiers in Afghanistan. The most surprising element is the sense of accessibility that you have with this movie. It doesn’t give you images of the conflict from a distance. You are literally crouched behind the sandbags. You are sitting in the plywood bunkers. You are running alongside the troops through the rough and uninviting terrain. You see what they see. Suspicious figures running out of the seemingly ancient dwellings. The bullets that land a little too close for comfort. There is a sense of relaxation with the 2nd Platoon of Battle company, as they appear to be quite loose in front of the camera. During their shifts in the field, they are locked in to their mission. But after, when are reflecting, they discuss the impact that the war has had on them quite openly. They are candid about the losses they have suffered. They discuss their upbringing. And they also bust on each other. During periods of downtime they take advantage of opportunities to listen or play to music. It’s always interesting to see bits of our Western culture seap into the battlefield, like when the soldiers put on a cheesy pop song and dance to it. There was some of this in HBO’s Generation Kill. Sort of like if Britney Spears was playing in the opening credits of Apocalypse Now. An odd contrasting effect. There is also something about it that feels identifiable. Probably because they are all young men and it humanizes them, portraying them more naturally instead of robotic mercenaries like some media outlets incorrectly portray them to be. You get a clear sense of the pride that they have in their work. They are undeniably doing hard work. When they manage to gain an advance and set up The Restrepo outpost in the highly contested zone, it’s a big accomplishment and they don’t hesitate to acknowledge it. Unfortunately death is a part of war, and is a part of this documentary. When it occurs it hits hard and you feel the weight of it. The loss of Doc Restrepo is felt by all, and his legacy lives on through the rest of the film and of course beyond. But one of the most inspiring elements is how they are able to acknowledge the loss, fight through the grief, and put one foot in front of the other and move on to the next mission. 

Meek's Cutoff

Kelly Reichardt, 2010

Can I Stream It?

2/5

Set in 1845, a group travels across the Oregon country under the guidance of a man named Stephen Meek. Meek promises to guide them through what he believes is a shortcut over the Cascade Mountains. Their doubts grow as they continue to travel in what seems like endless country with food and water running low. When they encounter a Native American in their journey, they are torn between the guidance of Meek and the guidance of the man widely thought to be threatening to settlers.

Reichardt's Oregon Trail-based period piece focuses on the survival of a group across a very desolate landscape. Scattered clusters of dry grass across the cracked earth. The intermittent sight of copper boulders that provide a small sliver of hope that there may be something bounteous on the other side, only to soon find that it's just one of many disappointments across the steppes. Very unforgiving. While the group moves across the harsh terrain, there is a common theme at work: uncertainty. Uncertainty is a dominant motif at work here. They don't know if they can necessarily count on Meek to bring them to their destination. They are certainly losing faith in him. They aren't sure how close they are to finding water, food. In fact, they don't even know if they will drink any water tomorrow. Because of this, they aren't even certain of how long they will be able to maintain the same company. They aren't certain that the cattle or the wagons will persevere. The wooden barrels roped to the sides of the wagons are running dry like their morale. They don't know if their recent "companion" to join the group is going to be helpful, or dangerous. As the wheels turn on the rickety wagon, the wheels turn in their minds. They tread on, continuing forward. Because they have no other choice. The uneventful days turn to black nights, consisting of Emily scraping together some supplies for some minimal calories.

Unfortunately the story maintains synchronicity in terms of the crawling pace that the group upholds. Devoid of any real bursts, you are left in the company of a fairly two-dimensional group of people who don't ever really pull you in and keep you fully concerned. To their credit, their struggles feel realistic and their fortitude is inspiring. But like them, your thirst builds to the point of pure exhaustion. It's betraying when the score builds in the background, only to have that particular moment deflate and transition to a long shot of the two wagons continuing slowly across the empty plain. It's a bold piece of work for Reichardt in terms of a filmmaker attempting to make something with very little. Sadly that it's just not enough.

John Lennon: Love is All You Need

Alan Byron & Ashley Hall, 2010

Can I Stream It?

3/5

Alan Byron and Ashley Hall direct this documentary that profiles late Beatle John Lennon. Using archival footage, interviews with close friends and family, the film creates a multi-perspective look at a beloved American icon.

When you are about to watch a documentary on a Beatle, especially Lennon, you are about to click play and you begin to think a few things. Is this going to be a completely biased look at my Johnny Boy? How much Yoko are we going to see? Is it going to be one of those documentaries that didn't get any licensing, so we are going to hear third party accounts at how much the Beatles meant to this complete stranger? Well, good news. This one offers more than that. This one is actually put together quite well, actually. Oh wait! One last question! Am I going to learn anything from this Lennon film that I don't already know? Actually, probably.

It begins with humble beginnings. It details the Fab Four's coming up in the working class Liverpool. You can't blame them for wanting to venture out, break out, see what's out there in the world. That sense of blue-collar British grit certainly gave them some fuel to run off of. It soon jumps to the Beatles arrival in America. Shea Stadium. Beatle Mania. Then comes the controversy of the "the Beatles are bigger than Jesus" statement. It's too bad one quick casual statement had such an impact. Once again it makes you think about the world we're living in today. John Lennon didn't have an iPhone where he could tweet any little thing that happened to cross his mind at a moment's notice. Unfortunately, there was one microphone... and it was front of him. And they took him seriously. Way too seriously. The interviews with the southern American youth reinforce the Puritanical roots that are in this country. Thou shalt not ironically use Baby Jesus' name in public or thou Shalt have thy records burnt! Jump to the death of Brian Epstein, which one could argue changed things quite a bit. He certainly could have been the stitching that kept the Beatles brand held together nicely. Soon after comes the introduction of the divisive Yoko Ono. The filmmakers do not hesitate to play some footage of Camille Paglia expressing her disdain for Mrs. Ono which may please the many Yoko haters of the world watching. You see Lennon's sudden "art phase", in which he clearly gushes over Ono's minimalist, borderline finger paintings on display. Of course with the love blossoming between the two it unfortunately causes the end of the marriage to Cynthia, who on camera could not be more humble and evolved. She comes off as very healthy minded, not harboring any resentment and acknowledging that sometimes couples move on to different things. Soon after the divorce, the Yoko-mania begins. The press stunts. The seemingly inevitable Beatles breakup. The film covers a bit of the 1966 Psychedelia, but soon jumps from that to the very much publicized Yoko/John political statements. The very Nixonian attempt to deport the pair. And of course, the murder. The impact of the murder. It hits the beats you want it to, and gives them fair time.

The film effectively displays Lennon as a very HUMAN figure. And that may be the best quality of this piece. You do actually get a sense of Lennon the person, and not just Lennon the figure. The U.S. vs. John Lennon had more of an emphasis of the political direction that Lennon was taking in his career. But this film covers much more. The film is titled John Lennnon: Love is all you need. But perhaps it was all he needed. While he may be accused of being cynical, cold, unapologetic... Lennon certainly didn't mind speaking his mind. His message, while perhaps naive and idealistic, was still consistent. And look, it lives on. You are constantly reminded of his impact. Lennon could easily be compared to President Kennedy in so many ways. A beloved American figure that certainly didn't mind being in front of the camera. A figure who had some publicized infedility. A figure who was suddenly taken from us, with much effect. A figure who lives on, with the legend having more of an impact. The film leaves you wondering what the world would be like if Lennon were alive today. Would he be a caricature of himself? Would he be dragging himself on tours with various backing bands like Bob Dylan? Would he be in American Idol? Would he be doing interviews on MSNBC protesting the war in Afghanistan? We can only sit and wonder.

Rammbock

Marvin Kren, 2010

Netflix

3/5

Michael (Michael Fuith) has recently broken up with his girlfriend Gabi (Anka Graczyk). He shows up at her apartment unannounced to return her key and hopefully convince her to stay with him. His bad timing is proven when the world outside of the apartment is hit with a rapidly spreading virus, and Gabi is nowhere to be found. He seeks refuge in the apartment with a plumber's apprentice who happens to be working there.

It's hard to convince anyone to watch a new zombie picture. It's a very much over-saturated genre. Most of the zombie films that are released are poorly made, no question. Most of them steal certain attributes from their predecessors. Been there, done that. So someone convinces you to put on the new one, and you sit there hoping to be surprised. And honestly, the odds are against you. But alas, a German zombie film. Perhaps the Europeans have different standards? Perhaps they don't see a Romero film and say "Hey, I can do that! Perhaps they have never seen an episode of The Walking Dead. They probably have. But rest assured, there is a decent one here. It's hard to make a zombie picture nowadays and have it be COMPLETELY unique.

But this one is done pretty well. It's a zombie film that's short and sweet. The film opens up and you are immediately introduced to Michael, who is really the every-man character. Balding and not in shape. He fantasizes about getting his girl back. He shows up to her apartment with an image in his mind of her opening the door and immediately hugging him, telling him it was all a huge mistake. Instead, he is faced with an unforeseen obstacle. A zombie pandemic. Who could see that coming? That premise is so over-used, but to Kren's credit he draws out his story effectively and with some unique touches. And in the end, it could be considered a clear limited storytelling piece. Muted colors. A sense of urgency. Erratic camera work that puts you in the narrow passageways. He sets his time clock short. You have about ten seconds to remove yourself from the room, or you are screwed. And you removing yourself from the room may mean throwing yourself in the next room, much smaller, with no exits. Walls become smaller, claustrophobic. Simplicity is the strength of the film. Kren knows he isn't breaking new ground, and he is not trying to.What he does offer is good camera work, impressive acting, and a beautifully constructed love scene in the final act that is certainly him signing his name on his love letter to Jaume Balaguero (REC).

The New Year

Brett Haley, 2010
 

3/5

Sunny (Trieste Kelly Dunn) drops out of college to return home to Pensacola to take care of her sick father. She gets a job a the local bowling alley and dates Tai Kwon Do instructor Neal (Kevin Wheatley). After reuniting with high school friend Isaac (Ryan Hunter), she becomes eager for a change in scenery.

There are a lot of Indie pictures that have a similar construct. High school buddies reuniting, underemployed at the embarrassing job, stale relationships. It's just a matter of its done well. Here it is done well. That's largely due to Trieste Kelly Dunn's performance as Sunny. Kelly Dunn possesses the physical qualities of Rebecca Gayheart combined with the quirky demeanor of Aubrey Plaza. Sunny is a complicated person. Shes interesting, because while she keeps a lot of her emotions locked away she is still quite expressive to those around her. Spontaneously eccentric like Ellen Page's character in Juno, but with more unpredictability. She returns to Florida, not exactly thrilled, to take her of her father after he is diagnosed with cancer. Her mother nowhere to be found, all that remains is photographs on the refrigerator door. Her father, who appears defeated by the disease, also bears a sense of guilt over keeping Sunny around but is clearly appreciative. There is no manipulation or guilt trips. You get a sense of good parenting on his part, because Sunny takes care of him on her own accord. She feels the weight of being his live-in nurse, but obviously doesn't want to waste whatever time she has left with him. Clearly someone who puts others first, she finally gets a taste of the outside world when she runs into Isaac. Isaac, amateur stand-up comedian, did what she wasn't able to do. He was able to take a risk and just leave Pensacola to see what was out there. Not really confident that his stand-up career will pan out, he can at least pat himself on the back for giving it a shot. Sunny feels the clock is ticking, and she can almost feel the roots growing.

The film is quite character-driven and they all have some colorful and comedic qualities. Sunny's best friend Amy (Linda Lee McBride) is a good example of the friend who settled into her hometown and grew roots. She's sort of the opposite of Sunny's character in the sense that she's very extroverted and attention-seeking. She's married to wannabe-G Bobby (David McElfresh), who barely speaks himself and lets her do all of the talking. There's something really funny about his character, still stuck in his high school thug persona. You have her boyfriend Neal who takes great pride in his martial arts school. He's a nice guy, and is good to her but doesn't have the same urge to leave Pensacola. She can see him doing the same thing ten years later and she doesn't want to look that far ahead. It's an accessible piece because it feels real, and that's all you really need. If you can get invested in Sunny's character, it's going to work for you.

Everything Must Go

Dan Rush, 2010


3/5

Nick Halsey returns home from a not-so-good day at work to find all of his possessions on the front lawn of his house, with all of the locks changed. Realizing that his wife has left him, he decides to stay out on the front lawn continuing to drink beer hoping that the answers will come to him.

A lot of familiar faces and distinct P.B.R. product placement in this dramedy that is a nice change of pace for Will Ferrell. As one of the better comedic actors of this generation, it's refreshing to see Ferrell in a dramatic role. I've always had a theory that comedy actors do well in dramatic roles because of the built-in range they already possess. It's why Jim Carrey was so successful in the transition in dramatic roles like The Truman Show and Eternal Sunshine of the Spotless Mind, and why Bill Murray also succeeded in films like Lost in Translation. 

Rush is effective at creating a film that has doesn't trip over itself with unnecessary story. It mostly focuses on Nick re-evaluating his life and wondering what got him to this point. Rush makes a statement about ones tendency to cling to material objects. Nick soon realizes that in order to move on, he has to let go of the Vinyl records and the George Foreman grill. Part of the letting go is aided by young neighbor boy Kenny Loftus (Christopher Jordan Wallace), and the dynamic that is created between the two is heart-warming and clearly therapeutic for both of them. The gorgeous Rebecca Hall (Vicky Christina Barcelona, The Town) appears in the film as Samantha, the new neighbor moving across the street, providing an ear to Nick during his outdoor stay. The belongings on the front lawn can also be a statement about the Surburbia gossip mill: window peeking and speculation over neighbors unhappy marriages. Nick fittingly makes a statement in the film about how everyone hides their baggage behind closed doors, hidden from the world. He claims that he is more honest because his baggage is out on the front lawn, for the world to see. The film doesn't try to be anything other than a hit rock bottom & pick yourself up piece, and although the twist at the end is a bit unnecessary... it's still an entertaining 90 minutes.

Waste Land

Lucky Walker, Karen Harley & Joao Jardim - 2010


4/5

Vik Muniz, world-famous artist, decides to travel to his home country of Brazil for a large art project set in the vast Jardim Gramacho landfill in Rio de Janeiro. What follows is a well-detailed film about the less fortunate people of Brazil who finally get some well-deserved attention.

An inspiring, thorough documentary that really captures the evidence of deep-rooted poverty in Brazil. At times emotionally moving, Muniz decides to try and capture a more ignored side of humanity. There is a large group of poor people that pick through heaps of unfiltered garbage in the land-fill in an effort to separate the recyclables to redeem them for what adds up to about twenty dollars per day. Muniz informs the people that he would like to profile them in an art exhibit, sell the artwork, and give 100% of the revenue back to the people. As Vik starts the interviewing process, he starts to see the similarities with the pickers and his own past - where he grew up poor conditions himself. There's a wide spectrum of personalities at Jardim Gramacho - from the mother who lost her son at age 3, to the uneducated elder who has been picking for 26 years. They all have a story, and they have a sympathetic quality to them. It's inspiring that although they may be waist deep in society's waste day in and day out, they have a sense of integrity and pride in their work. You see that these people, while uneducated, have a real hunger for knowledge. They scour through the trash, and when they find books they clean them off and bring them home. One of the men has even read War and Peace. The pickers have a sharp eye. By examining ones trash, they realize you can find out a lot about that person. Their social status, their occupation, their overall health condition.

One memorable point in the film is when Vik has a group of pickers in his studio. He describes the person at the museum - the person who stands back from the wall and looks at the art, and then bends forward to look at the material up close. As you get closer to a painting, it begins to lose its appeal when you see the detail. As you move away, you see the beauty. It's an important concept, because it can so accurately portray these people and their conditions. From a distance (such as when Vik is viewing the landfill from Google Earth at his Brooklyn studio), they appear to be desperate trash-dwellers. You get closer, as he does, and you start to see the qualities of the people. Vik Muniz selflessly changed the lives of the people of Jardim Gramacho, and it's really inspiring to see him give back to his hometown.

Happy People: A Year in the Taiga

Dmitry Vasyukov & Werner Herzog, 2010


4/5

A beautiful film that examines a part of the world hardly explored. It's a magnetic film that really puts you in the middle of the remote Siberian village. It's a raw study of human survival and community in the harshest of climates. It's a village built on a patriarchal family structure, with the man of the house constantly having to go out into the vast forest to tap into his biologically-inherited hunter-gatherer abilities.

The inhabitants have a strict routine that they follow, mainly because their very survival depends on it. With the assistance of their loyal hunting dogs, they travel miles into the snow-covered Siberian landscape to set traps, clear traps, hunt game, and build tools and structures with the very trees that surround them. It's a very honest film, the protagonists don't sugar-coat anything about their life. They must kill animals for their food, and have no shame in doing so. At one point in the film one of the men even says that he feels more honest about killing his food - because he's the one with the blood on his hands. Although the town of 300 is completely removed from the world around them, they are very accommodating and appear to be very comfortable in front of the camera. They are true survivalists, most people wouldn't be able to endure the harsh winter climate or the isolation. They not only have to endure both, they have to endure long periods of both, for months on end. They build the cabins they sleep in, and craft the skis and canoes that they travel in. Herzog's narration adds a noticeable tone to the film, and you are THERE with the people of the Taiga. You are underwater when they drop their nets into the icy river, and you are with them as they traverse the narrow winter paths via snowmobile. It's a refreshing escape from the Western World, removed from technology. Removed from dependence of the superficial. Removed from the meaningless drama that finds its way into our daily lives. These people have REAL drama, like maybe not having a next meal. There are a lot of question marks for them when they wake up in the morning. Will there be anything waiting for them in their traps? Will one of their beloved dogs get attacked by bear? When they arrive at their outlying cabin in the forest, will it be intact? Every one of these variables can have a profound impact on their survival. It can certainly make parts of the American life feel trivial.

The film is VERY similar to the independently produced documentary "Heimo's Arctic Refuge" which is part of the "Far Out" series created by Vice. It follows a man named Heimo for a week while he participates in very similar activites around his secluded cabin in rural Alaska. That film can be streamed HERE

The Way Back

Peter Weir, 2010


3/5

          Set during World War II, a group of prisoners escape from a Siberian labor camp and brave the harsh winter conditions and venture through the freezing snow-covered forests, sand-ridden desert, and the Himalayan mountains in an effort to ultimately seek refuge in India. Based on a true story.
          Peter Weir takes you on a long journey much like Edward Zwick does in Defiance (2008). Instead of focusing on Jewish prisoners though, this story focuses on mostly Polish prisoners but also an American (Ed Harris) and a Russian (Colin Farrell). While the story is at times dragging along, Weir does a good job of really focusing on the surrounding environmental struggles and the sheer will they have to survive. Not only do they have to worry about the harsh conditions that surround them, they also have to be very conscious of anyone who may try to retrieve a bounty for their head if seen by the wrong person. The film is very effective at studying human morality in many ways, especially during a time when the world around you is being destroyed. In the end all you're left with is the urge to keep walking, and every step counts. By the time the group reaches the desert, and sees the miles of scolding earth in front of them - you assume that most people would simply give up. The main attraction to the film are the beautiful landscapes... the rocky tundra, endless mountains. Good acting manages the story well, but its a long journey and by the end you are exhausted along with them.

Senna

Asif Kapadia, 2010


4/5

Archival footage fuels this documentary that tells the story of Ayrton Senna, the champion Formula One racer. The film uses a combination of interview footage, in-car camera footage, and news footage to paint a fast-paced, compelling picture. I was guilty of not knowing anything about Senna going into this film, but that only made it better. I am also guilty of not being a fan of racing, but I was on the edge of my seat throughout it. Senna was a talented, humble, reserved figure with a high racing IQ. He was determined to make his mark in the sport, and it didn't take long to do so. Clearly a prodigy-type, he was born to excel at Formula One. I liked the honesty of finding out that Senna came from a privileged background, but never had to make any excuses for himself. He was an intimidating force on the track without having to be an intimidating figure off of it. Some fly-on-the-wall shots of pre-race discussions do a good job of displaying Senna's confidence and ability to assess the conditions of the racetrack. The noticeable sense of animosity from other the other racers really showed Senna's threatening ability.

The method used in making this film is so refreshing. I've never seen a documentary that is made using 100% archival footage, and I'm eager to see more films like this. The wealth of footage provided a perspective that helped to quickly identify with Senna. You literally see the physical evolution of his persona, from a teenage go-kart racer to a confident Formula One racer at the peak of his career. He was not only a racer but an inspiring patriotic figure to poverty-stricken Brazil. The imagery of a nation behind a single figure is quite powerful.

This is a documentary with no faults, at least none that I can think of. Even the soundtrack, done by Antonio Pinto, was perfectly fitting. It was present without being too pronounced and distracting - reminding me of a more ambient Chemical Brothers. This one sat on my Netflix queue for over a year, even after hearing many people raving about it. Wish I had watched it then, but happy I did now.

Candyman: The David Klein Story

Costa Botes, 2010


3/5

This documentary captures the genesis, growth, and corporate buyout of Jelly Belly Beans according to the creator himself, David Klein. Klein is a real-life Willy Wonka, who has all of the idiosyncrasies of a genius who lacks self-defending business tactics. His story is tragic. He was the brains behind the creation of the very popular confection, only to get bought out by the very people that closely watched him build his company from the ground up. His eccentric behavior is inviting, and you get behind him early on in the film. He fought tooth and nail to give the Jelly Bellies legs, legs that eventually made their way to the White House when Ronald Reagan needed to kick his cigar habit.

Every documentary needs its bad guy, and these are the typical white collar corporate bad guys. These people are not the innovators, they are not the creators. They sit there strategizing, seeking out that one vulnerability that will make it easy to put the company in their hands. Your first thought when you are introduced to David Klein is "why is he living in this tiny house? Shouldn't the creator of Jelly Belly be in a mansion? Shouldn't he be wearing better clothes?". The answer is yes. But perhaps that's irrelevant. If David Klein WASN'T bullied into selling his trademark, and he had the money... he probably wouldn't be living in the big house. He probably wouldn't be wearing the fancy clothes, or driving the fancy car. He would just be Dave. And that's what makes him better than the "other guys". We need more people like David Klein in the world, but I won't go as far to say we need more attorneys. He just needed one in the room with him that day.

180 Degrees South

Chris Malloy, 2010

3/5

A quick watch 90 minute documentary about a group of buddies trip to Patagonia, South America. The trip is inspired by the same journey made in the 60's by Yvon Chouinard and Doug Tompkins, the founders of Patagonia gear and The North Face. They bring a camera along for the ride as they mountain climb, surf and hike... and the result is a life insurance actuary's worst nightmare. Cinematography was done by Daniel Moder, that proved to be a good grab because there is really impressive camera work in this film. I am a sucker for time lapse shots and there was a beautiful one of a South American city skyline with an orange luminescent glow to it. The camera work as they are mountain climbing is also really impressive, they must have had the camera roped off behind them. What's most impressive is all of the amazing footage of the Patagonian mountains and the countryside itself. I am not a beach guy, and THIS would be my version of paradise. There is a cedar-shake cabin that reminded me a bit of a Vermont sugar shack that I would move into in a SECOND if I had the chance. There is a message to the film, the push for Land Conservation in South America. Also a lot of anti-industrialization and anti-urbanization dialogue. That message seemed to be a little blurry and was distracted by the other elements of the film. I really liked the B&W hand-sketch overlay's that they show, along with the old footage from Chouinard's/Tompkin's original trip that is overlaid periodically throughout the film. Overall, its good Nature Porn with enough activity that it would appeal to adrenaline junkies/adventure sports fans.

Let Me In

Matt Reeves, 2010

4/5

When I had heard that they were remaking the Swedish horror "Let The Right One In" I wasnt too optimistic that it could hold up to the original. Now after seeing both, I look at them almost equally and there are only subtle deficiencies in both films. Anyone who has not seen the original Swedish version should do so. Thats all I will say about the original. This film is a near perfect horror film, and definitely in my top 5 horror films of the past 10 years. Chloe Moretz (Kick-Ass) has been good in every film I've seen her in, and she is perfect in her role of Abby the vampire. Kodi Smit-Mcphee gives a really great performance as well, as Owen. This film is how every vampire film should be. Unfortunately we've become consumed as a culture with a watered down, vanilla Vampire genre thanks to the absolutely horrible Twilight films. Let Me In is very different. Its takes itself seriously. The cinematography in this film is fantastic. Theres an ambient, dark & yellow glow to the film that reminds me of David Fincher. I would imagine the cinematographer, Greig Fraser, is influenced by Fincher. There are so many big moments in this film that were so original, especially the ending.