Sing Street

John Carney, 2016

IMDB

4/5

I have to confess that Sing Street was one of those movies that I watched the trailer for the first time and felt a little annoyed. It was clearly the headspace that I was in at the time. Because the movie surfaced one night through a brief Netflix browsing session with my wife who was looking for something with some heart and not blood. Sing Street would prove to be one of the better 2016 films to watch with my wife.

One of the redeeming qualities about Sing Street is the fact that when the group of high school strangers assemble, their first attempts of making music don't actually suck much. In fact even their first tune that they make is actually pretty catchy. By doing this it eliminates a lot of technical build up like in School of Rock where students literally have to learn from the ground up in terms of form. A device used is to sort of skip over the rudimentary obstacles is to plug in character Eamon (Mark McKenna) who not only is a multi-instrumentalist but he is even able to provide practice space because his father is in a cover band. School of Rock is a fitting movie to bring into this conversation because there are obvious parallels. Young school kids making music together, all bringing their own life experiences and using music as a form of expression. But the differences between the two are stark. Admittedly a lot of it is cultural. With Sing Street being an Irish production, the story is set in the rigid and strict confines of the UK educational system in the 1980's. The landscape is gloomy. There is an obvious sense of authoritarian rule. Bullying is rampant. School of Rock was more about a wild teacher finding a way to connect with a classroom. Sing Street is more about a young man dealing with all of the normal angst-ridden things that teenagers have to deal with and finding a way to deal with it. While a lot of what lead character Conor (Ferdia Walsh-Peelo) are common teenage problems, they are all illustrated in a way that makes it compelling on screen.

Perhaps the only negative that exists with Sing Street is the fact that its filled with the conventional teenage movie tropes. Frustration toward your parents. Not having a lot of friends. Not liking your teachers. The crush on the unattainable girl. Escape through music. But Carney finds a way to put blend these elements on screen that make it feel fresh and charming. This is likely to do with it with being an Irish production and having fresh faces on screen. It speaks well for international film, telling stories that might not be completely unique but telling the story in a place that doesn't get as much attention as it probably should. Its obvious that Sing Street would be a much different movie if it were set in New York City with American actors. But it wasn't. Instead it's a sweet little Irish film that will have "Drive it like you stole it" in your head for a few days after viewing.

The Imitation Game

Morten Tyldem, 2014

IMDB

5/5

Just when you think that maybe the World War II period drama can't be approached differently on film, you see a movie like the Imitation Game come along. Starring Benedict Cumberbatch as tortured genius Alan Turing, the film focuses on his attempt to crack the Enigma code - the encryption language used by the German forces for all war communications. The British feel that if they can decrypt the code, they could win the war by anticipating all battle plans. Tyldem interestingly depicts Turing at three different stages of his life. So the story of Turing is told without linear narrative. It examines Turing in middle school at a British prep school. During this time he is bullied by his peers and is a social outcast. He has a very intimate friendship with his one friend whom shares the skill of cryptography, allowing them to secretly communicate with each other. It shows Turing in the main plot thread, when he working with a team of highly intelligent peers trying to crack the code. The third period is later in Turing's life - 1951 to be exact when a suspicious police officer starts to dig after discovering Turing's military records have been completely destroyed.

Those hoping to get recieve a history lesson with this film will be disappointed and not well serviced. There is an ample amount of artistic licence used with the Enigma story. In fact, only 41% of the story is actually factual as charted in detail on Information is Beautiful. If you can get past that, this is a surprisingly exceptional film. There is such a remarkable balance and pacing. The way that they depict Turing is as a distant, cold, arrogant genius that appears to be on the spectrum. Not exactly the hero that is easy to get behind. But by using his tortured childhood, along with the fact that he is forced to remain a closeted homosexual in his adult life - you are forced to feel sympathy for him. It's upsetting to be reminded of how horribly ostracized someone could be simply for their sexual orientation back then. Imitation keeps you in it's grip the entire length of the film. Of course you know how the war turns out, and you can make some assumptions as to how the film will play out in terms of their success in decipehring the code. But it's the execution of it all that makes it so excellent. The commanding officers breathing down their neck creates the ticking clock that maintains tension. The consistently rising death toll from the Hitler regime as he blasts his way through Western Europe raises the stakes to an ultimate high. And you just sit there on the edge of your seat waiting for a breakthrough. 

Brooklyn

John Crowley, 2015

IMDB

4/5

Brooklyn is an adaptation of the best-selling novel written by Colm Tóibín. Set in the Post WW2 1950's and shown through the eyes of Irish immigrant Eilis (Saoirse Ronan - Hanna, Grand Budapest Hotel), it shows an America that like today shows a country ripe with oppurtunity. Modern day New York City is filled with Irish ancestry but there was a period of time where the Irish/Italian ancestral lines weren't so embedded. Eilis is sort of thrown into this America. A priest sponsors her trip to America with the intention that she will find more oppurtunity and fulfillment there. Staying in her native Ireland means probably working a low-wage job and becoming a slave to the dreary monotony that seems to resonate through her small town. She would likely marry the neighborhood boy that wins the approval of her bitter mother. She would then take care of her mother until she died, and then inherit her home and stay there for the rest of her life. So she boards a ship with many other immigrants, a total fish out of water.

It's here that Crowley is able to capture some real emotion that lands on the screen. Much credit is due to Ronan who is able to display the unbearable homesickness, stranger anxiety, the grieving over a deceased loved one. She is able to balance the wide spectrum of emotions so remarkably, alwhile also showing a blossoming love with Italian man Tony (Emory Cohen). Ronan continues to impress, showing she is one of the more impressive leading performers working today. This film might break your personal record for most goosebumps felt. Brooklyn is a look at a bygone era. Where people looked out for each other more than they seem to do today. People weren't walking with phones in their hand looking down at a black mirror and instead used that free hand to hold a fellow person up. Brooklyn is also just another great example of how New York City is the best movie setting for romantic storytelling. Sorry Paris.

Lawless

John Hillcoat, 2012

IMDB

3/5

All you really need to do is take a look at the plot synopsis and cast listing to draw interest in John Hillcoat’s Lawless. A prohibition-era period piece about three bootlegging brothers that are at odds with a local deputy. Starring Shia Labeouf, Tom Hardy, Jessica Chastain, Mia Wasikowska, Dane Dehaan, Gary Oldman. Basically a handful of some of the best actors working today. And although some of the casting decisions are a bit questionable (Chastain) for their respective roles, it’s hard for a film with that kind of fuel to go wrong.

The best quality of the film is probably the attention to detail in terms of the production design. The southern atmosphere is completely immersive. You really feel like you are there in the muggy heat with the bugs buzzing around you. You really get a good look at the natural beauty of the South - which is supposed to be Virginia but actually filmed in Georgia.

There isn’t a whole lot to the film other than a focus on the family dynamics between the Bondurant brothers and their battle against the eccentric special deputy Charlie Rakes, played by Guy Pearce (who really nails the role). Rakes provides a couple hints that he suffers from an OCD-type of condition, as he is visibly horrified by his suit being dirtied. But this conflict between the deputy and the brothers is enough for a serviceable period drama, even with a muted Tom Hardy. Because even a muted Tom Hardy is still good. The film succeeds in getting you engaged in the brothers, all while building anger toward Rakes. Probably because the hypocrisy is so evident, the cops turning a blind eye to the moonshining operations because they are getting their palms greased. Rakes does nothing but flex is muscle without having to do any of the dirty work.

But looking back on this film years from now I probably won’t be thinking about the gun battles. I might be thinking about Pearce’s Rakes character. But I will undoubtedly be thinking about that old porch with the various chairs and how I would just want to sit in one of them for a few hours and sip on a mason jar with some moonshine and look out into the woods. So ultimately Lawless succeeds in being alluring without having to break new ground in the genre.

The Conjuring

James Wan, 2013

IMDB

4/5

Sometimes with horror films, scary movies in general, it's not about the monsters and the creatures jumping out at you from the screen. Sometimes the real consistency of the scares is in the subtle notes. The build-up, the tension, the things you don't see. Sometimes it's something ambiguous, a shadow in the corner of the frame. A resonant sound. Or maybe it's something from your own life experience that you are bringing to the film. Maybe the house looks like yours. Maybe the layout of your bedroom is the same as the one in the scene. The Conjuring plays with a bunch of these concepts. Effective pacing, visual elements, creepy scenery, shadows, sounds. Splat-packer Wan has gotten a lot of movie-blood on his hands in the past, working on films like the original Saw and the first two Insidious films. Both of those films in their early incarnations were original and creative. Saw was certainly a more innovative horror film, Insidious played on a similar theme as the Conjuring with demonic forces at work in a home.

The Conjuring is a period piece set in the 1970's. When you enter the Rhode Island historical home in the early moments of the film, you realize right away that the house itself, even in the absence of anything floating through the hallways, is a damn creepy place to be. The walls are cracking, there are exposed lathe boards in some of the rooms. Aged kitchen, a certain layer of grime to most of the surfaces. Everything creaks and squeaks. But this is because it's an old house bought at an auction on the cheap by their truck-driving father Roger (Ron Livingston). He admits to having spread himself really thin financially, and purchasing the home with an effort to please wife Carolyn (Lili Taylor) who wants her children to grow up in the ambiance of the rural country. Dogs can see ghosts, as anyone who saw the original Poltergeist knows, and when their family pet refuses to enter the house we know right away why. The film is actually not really that ground-breaking or revolutionary in terms of story. It's a blend of a haunted house-possession sub-genres (with nods to the found-footage sub-genre as well), which doesn't feel all that fresh. But it's the execution of it all that works. And in this age of torture films and cheap slashers and CGI-monsters, it's refreshing to watch something that has lingering qualities.

Films like the Conjuring prove that a horror movie doesn't have to be revolutionary to still be effective. If you are a fan of the genre, sometimes you just a want a scare, and you get that here. And as far as memorable elements, whenever someone claps twice you are sure to think of this film.

Stand by Me

Rob Reiner, 1986

IMDB

4/5

Stand by Me is not just a movie about a group of boys searching for a rumored dead body. That's all secondary. It doesn't really even matter if there even is a body at the end of their journey. Stand by Me is just an honest coming-of-age piece that will force any man watching to revisit their youth. The rapport between the four boys is identifiable to any grown man. Their world was a world that existed long before bullying was considered a punishable crime. They were living in a world where spankings were expected, getting picked on was the norm. When cold cuts cost $1 and the older men were slicking back their hair and driving fast cars.

Very much like Gordie recalls his youth after seeing a newspaper article, this film conjures up memories of your own youth. That group of friends that you would spend the summers running through the neighborhood with. Back then, they seemed like they would be life-long companions. Little did you know they were just those people who were there at that particular point in time. Those friends come and go. But for that little blip in time, they are your guides... your mentors, your support.

The film goes down as another one of Stephen King's masterpieces that made the successful transition to the big screen. King has a way of capturing the essence of relationships between people. He has also displayed the ability to see things through the eyes of children as he did in his 1986 novel It. There is a lot more to this movie than a fat Jerry O'Connell "sincerely" drinking game. It's a portal to your own past, when you had your whole life in front of you and the companionship.

The Wolf of Wall Street

Martin Scorcese, 2013

Can I Stream it?

4/5

The true story of Jordan Belfort, a young stock-broker that gets rich from scamming his investors.

Wolf doesnt feel like a movie made to be taken seriously. It doesnt feel like a film intended to drum up so mich controversy. The rags to riches to rags story is Scorcese going out of his out of comfort zone (along with screenwriter Winter), almost doing his version of a Fear and Loathing in Las Vegas. His Hunter S is Jordan Belfort, eager to indulge in his excesses. It ultimately comes off as a Fear and Loathing / Wall Street / Scarface black comedy hybrid that even has notes of Raging Bull (a broken man that attempts to reestablish himself in the world). And like Gordon Gecko, his luxuries never feel cemented. When you are living such a lifestyle, combined with the fact that you are admittedly dependent on a particular prescription to maintain such mindset- it eventually reaches a tipping point. Add the fact that you are taking advantage of loose financial regulations in a realm of rapidly increasing regulations and of course its momentary. You get a clear sense that you will witness the rise and fall of a rather despicable figure, and the humor creates such levity that you don't need it to be a sophisticated character study of an anti-hero like PT Anderson's There will be Blood. There are brilliant, lewd LUDE moments. Scorcese's comedic experiment pays off and the result is provocative, overindulgent and hilarious. 

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.

Rabbit Proof Fence

Phillip Noyce, 2002

Can I Stream It?

2/5

Set in 1931, Three Aborigine girls are taken from their family in an effort to slowly eradicate Australia of its indigenous population. 

Rabbit Proof has some really great qualities, but is ultimately a film that is lacking to a certain degree. The acting and cinematography really stand out, with the young girls showing durability and endurance while encompassed by superior camera work. The barren Australian Outback really invokes a sense of vast despair for the girls as they try to make their way back home. At times the heat radiates from the surface of the dry earth, reinforcing the unforgiving conditions the poor girls must endure. Sometimes the camera is attempting to focus on the silhouettes of the girls as they appear to almost float above the white surface. The actual fence they follow serves as a symbol in a sense, the descendants of British colonists trying so desperately to efface any anterior heritage. Their eagerness to "breed out" the half-castes is similar to that of the Nazi's Final Solution. But with that being said, the film is guilty of dragging when it comes to the story. Wearisome, sometimes almost feeling like homework. It is by no means an un-watchable film, but it certainly is an overrated one based on the wide critical acclaim it receives. The book likely gives the story much better treatment and probably makes more of an impact. That's what is ultimately lacking in Rabbit Proof. The story itself never seems to create a gripping, emotional impression. At the end of the day, the film at least takes you into a chapter of world history not often explored, it's just a shame it lightly glides through it without leaving you with any deep-seated memories.

American Hustle

David O. Russell, 2013

Netflix

3/5

Russell's latest work is actually a difficult film to explain to someone when they ask you to describe the plot. "Okay.. so there's this con-man and his lover who cheat desperate people out of black market loans who then get caught and have to assist the FBI in taking down some politicians while also at the same time try to handcuff the investigation to the mob by promising Middle Eastern financial backing in rebuilding the Atlantic City casinos. You got all of that right?"

Scorcese gave his keys to Russell and told him to bring it back in one piece. He did, and he took it for a nice long spin in this con-artist crime drama/gangster story/quirky comedy/period piece. The nod to Scorcese is blatant: the narrative, the tracking shots, MOS sequences set to music, the gangster motif, the Big Apple backdrop. The casting office even called for a couple of Boardwalk Empire's guys. But it's also very David O. Russell. At times the film solicits laughter reminiscent of his comedic style in Flirting with Disaster. Russell puts on his Sounds of the 70's compilation and plays with one of his signature elements of taking that classic song you've heard a million times and putting a visual component in there that makes it seem like you're hearing it differently. 

Christian Bale morphs into his role as chubby con-artist (hair piece included) Irving Rosenfeld and continues to prove that he's one of the best actors working today. If his character didn't possess the nuance that Bale was able to bring to the role, it just wouldn't work. Jennifer Lawrence takes her already great performance in Silver Linings Playbook and goes off her meds, taking it to another level as a vindictive hot mess. Her distorted reality from being confined at home. The manipulative tendencies. Seething jealousy. Bradley Cooper's character is similar to his character in The Place Beyond the Pines in the sense that he's a government worker trying to make his mark. He's always been overlooked. He can almost smell success, it's so close. He wants it so badly. Amy Adams plays the classy Sydney Prosser, who wants nice things and is willing to trade her morals for companionship. Renner's performance as Camden Mayor Carmine Polito is more subtle but it has a certain plangency to it. You know whats going to happen to him. And it should bother you even after the film is over. Some surprising faces even turn up - one of which is un-credited.

Enough can't be said about the performances in the film. The cast deserves much praise, as well as Russell for being able to collaborate with such a pool of talent. It's especially impressive to discover that 20% of the film was improvised which again speaks well for the Russell's confidence. But outside of the great performances, the film feels too elaborate. While Russell's The Fighter and The Silver Linings Playbook had a more youthful feel -  American Hustle seems to be a film made for the older crowd. Probably the crowd who grew up the 1970's. It's surely a subjective movie (aren't they all), likely to be lauded by many and not so much by others. But either way you're bound to feel satisfaction on some level because the acting gives you your money's worth an hour into the picture. 

12 Years a Slave

Steve McQueen, 2013

4/5

Solomon Nothrup is a free man living in Saratoga. A skilled fiddle player, he is convinced by a couple pf men to travel to Washington to perform. Soon after he arrives, he is Shanghaied and sold into slavery. His requests to be freed on the account of being a free man from the north fall on deaf ears.

McQueen's adaptation of the Solomon Northrup memoir is an honest one. A true account of a tragic story. A very raw display of one of the true American horrors. McQueen is a skilled filmmaker and the technique involved in this picture is very deliberate. A lot of close to medium shots. Long takes, a lot of hanging on a shot, longer than one would expect. It's all intentional. He wants to enslave the audience, and he is effective at that. The tendency to cringe at what you are seeing, amd you do. The urge to look away, and you try to. It is also a film that wants to be heard, with Hans Zimmer providing the score. And so the pieces come together and the result is an ominous construct of deception. And the film is not over-stylized like Tarantino's very popular Django Unchained. That makes it feel more personal. While there is plenty of disturbing imagery in the film (possibly some of the worst you'll ever see), what makes the film truly upsetting is the truth behind it. You are seeing what your fellow man is capable of doing. What humanity is capable of. That's what makes it truly horrific. Manipulation, deception, betrayal, heartache, loneliness, theft. And not just theft of a person's livelihood. Not only a theft of a man's name. Theft of the human spirit. Northrup is living an honest life in Saratoga. A threat to no one but a set of fiddle strings. A family man, one who pays his taxes, has an honest job. The separation of North of South feels quite skewed when there is a threat of a southerner making their way up only to double-cross an honest man only because of his skin color. And so he is Shanghaied. He is not stripped of his freedom but his existence.

Great performances throughout. Chiwetel Ejiofor is well equipped to play Northrup. He will likely earn an Oscar nomination, and the praise is well-earned. Paul Dano plays the chilling Tibeats. Avenging after being undermined, he holds a grudge and doesn't value any real principles. Paul Giamatti plays a horrible slave trader Freeman, pawning off humans as if they are livestock, even if it involves separating mother from child. McQueen once again works with Michael Fassbender, who has appeared in all three of his feature films. Fassbender is so wonderfully despicable here. Hidden under the false charm of his Southern regalia, he puts the slaves in strict competition over cotton volume and on lonely nights forces them to dance to his own amusement while he stands around in bare-feet and loose garments. His temper is short and can be triggered by his repellent wife (played by the great Sarah Paulson). 

A story of perseverance, personal fortitude, but also one of shame. Germany may have the scar of Nazism on its face but we will always have slavery on ours. While the title of the film may give the ending away, it's not only about whether or not Solomon Northrup is eventually freed. There is no happy Hollywood ending to this piece. Taking 12 years away from a man not only strips him of time he cannot get back, it strips him of a certain freedom for the rest of his life. And what justice can be made for such time? Hard to quantify it. That's what makes it such a true American tragedy.

Miller's Crossing

Joel & Ethan Coen, 1990


3/5

Tom Regan (Gabriel Byrne) is a right-hand man to a crime boss. When tension mounts between his boss Leo and rival boss Johnny Caspar, he finds himself in the middle and his loyalty comes into question.

The Coen Brothers jump into the 1930's mob world in this Prohibition-era Period Piece. With elaborate set design and heavy dialogue the film is ultimately more refined than Goodfellas but had the unfortunate timing of being released the same week in 1990. History seems to have been more kind to Scorcese's piece, or at least pushed Miller's Crossing into more of a cult status (not a bad thing). And there's no Eric Clapton playing in this picture. A classical score echoes throughout the film. Lots of wood paneling graces the scene reflecting dim light by fancy green lampshades. Backroom booze consumption and gambling. Double crossing. Political relationships. Long standing Irish and Italian feuds. Egos getting in the way of business. Sudden subtle humor puts the Coen Brothers mark on it (Caspar's blowups, Caspar's fat kid, Drops Johnson's screaming). But in the end they also don't hold back on the firepower. When the Tommy guns let loose they light up the screen like fireworks, and you're left with bullet-riddled storefronts and engulfed Ford Model A's.

The primary focus of the film is on Byrne's character Tom Regan. Regan is restrained, aimless. At times he feels almost nihilistic. He talks less and listens more. He doesn't really watch his back, and never feels he needs to. He is a cool head in a crowd of hot ones. He gets himself into a lot of situations that leave you on the edge of your seat wondering how he's going to get out of them. It's guilty of dragging a bit at times, like some of their work tends to do. But in the end, it's a film that's artfully done with polished characters that make an impact.

Prince Avalanche

David Gordon Green, 2013


3/5

Responsible and self sufficient Alvin (Paul Rudd) and unsophisticated Lance (Emile Hirsch) are two road workers who tediously paint the yellow lines on the Texas pavement after wildfires ravaged the state. At night they camp on the roadside, and they occasionally have the opportunity to travel to town to socialize and gather supplies before they have to get back to the grind.

David Gordon Green pushes the quirk in this minimalistic limited storytelling piece that at times feels like a love letter to Wes Anderson. There are points in the film where it almost feels like a car may pull up and Bill Murray may get out. It's a piece that's largely filled with abstraction and vulnerability. Some may not be so satisfied with images of a mustached Paul Rudd dancing by himself with a fishing pole in hand. Others may credit him for taking a risk with another independent role. He certainly puts himself out there as the dorky outcast just looking for some validation. He doesn't hide his love for Madison, and continues to write her letters like he has gone off to war. And perhaps he has, in his mind. But strangely there's not much urgency to finish his work and return to the general population. Without her presence she feels very imaginary. Alvin is searching for something while he is isolated in those woods. Perhaps he is rebuilding like the world around him. And Lance is fighting his own kind of war as well. Hormones raging, he returns to town seeking short term flings and without which leaves him feeling empty. Emile Hirsch delivers a particularly impressive performance as the inexperienced oafy hand to Alvin. The humor in his character is subtle but memorable. The dynamic between Alvin and Lance is unstable, and why wouldn't it be? Basically opposites stuck together in the middle of nowhere. At times hating their job, other times indulging in the freedom. But at the end of the day their companionship is going to be more fulfilling than their monotonous daily grind. They both have something to offer one another.

Green took a risk with making the film as it won't appeal to all crowds. The fortunate thing is it feels like he succeeds in what he set out to do. The theme of self-discovery while slowly walking the Texas pavement almost gives it a Wizard of Oz feel. At times the film drags very much like the painting machine they push slowly through the day, and at times it feels like it circles in one spot. It could certainly be a better film if there was more meat on the bones. But there's certainly something here worth watching.

Confessions of a Dangerous Mind

George Clooney, 2002


3/5

Ambitious television producer Chuck Barris (Sam Rockwell) who created The Gong Show and The Dating Game also moonlights as a CIA operative assassin in this film directed by George Clooney and a screenplay written by Charlie Kaufman. Based on a memoir written by Barris.

Sam Rockwell is a good choice for Chuck Barris. Barris is sort of an unassuming figure. At one point in the film Jim Byrd (Clooney) says to Chuck: "You're a fairly bright guy. You'll figure it out". And that sort of sums up a lot about Chuck. He has the drive, there's no doubt about that. But his youth was full of rejection, and that never really subsided. And life isn't necessarily timed perfectly. When he finally meets the girl who is sincerely attracted to him, Chuck has a lot of fires burning. He wasn't exactly thrilled to take on the job working for the CIA, but does anyway without much defiance. And that's why Jim chose him anyway. He fit the profile. What was the profile? Probably a softy loner who wasn't going to stand out. Someone who nobody really looks at twice. Someone who is quite forgettable. Not one to solicit a second glance. Someone perfect for Sam Rockwell, who is no stranger to playing the "also-ran" type of character.

The film at times offers a taste of classic film noir. At other times its more of a character study. And other times it feels like a black comedy mixed with a crime drama. Clooney is quite capable in the director's chair, there's no doubt about that. The scene where the camera pans while introducing the various contestants really gives the feeling its all one continuous shot. The cinematography by Newton Thomas Sigel plays with a lot of color, at times an absence of it. There's a certain stylistic quality to the film that at times feels almost Sin City-like. You get a sense that the entire film has a lot of skillful people behind the camera, and it's realized quite early on that everyone in front of the camera is more than capable. It's not going to be a film for everyone, and it's certainly not Kaufman's best screenplay, but it's a film that should certainly be appreciated for the production-value.

Behind the Candelabra

Steven Soderburgh, 2013


3/5

Soderburgh creates a glittery performance-driven picture, one that not only showcases the talent of Liberace the beloved American performer but also a figure who was very human - at times flawed and tempestuous. When the stage lights were on, the applause was loud. But when the curtains were closed, you see that the Liberace world was not all glamour. The qualities you see in Liberace's romantic life are qualities seen in any flawed relationship. Jealousy, manipulation, ego getting in the way. Unfortunately he lived in a place and time where he was bound to secrecy, fearing that if his sexuality was exposed it would be the end of his career. This of course would have elements that would spill into his relationships. His relationships would appear to be quite cyclical, when he's introduced to the new boy you can certainly see his past standing on the other side of the room.

Scott Thorson (Matt Damon) clearly comes off as a sympathetic figure in the film. Having to endure a turbulent upbringing, he's introduced to Lee and basically forced into a relationship with him. He's promised wealth and security. He later finds that those benefits will come at a high price. He finds he's also living in a world where he's not alone with Lee. There are many people the periphery - from managers, to assistants, to house staff. Soderburgh does a good job in pacing the genesis and the inevitable decay of the relationship. The arch of Scott's character feels quite authentic from the innocent eager-to-please young boy to the paranoid cocaine addict. 

Douglas gives one of the best performances of his career. Hopefully this does not overshadow Damon's performance because that was probably AS good. The editing is quite impressive, given that you assume Michael Douglas cannot play piano that well. Luckily there were not any distracting close shots of a pair of hands clearly not his. At first it almost looked as if Douglas' head was unevenly placed on the actual piano player, but it soon dissolved. There are also some great performances by Rob Lowe (probably the funniest character he's played), Dan Akroyd and Bob Black. It's disappointing that Soderburgh could not get funding for the film from the major studios (they said it was "too gay"). HBO came to the rescue, but the struggle seemed to have pushed him into his much publicized film sabbatical with a bad taste in his mouth. It should ultimately prove once again that we are now in a world where big-budget theatrical distribution is not the only release channel and there are now many avenues where a film can still be seen by many.

The Snow Walker

Charles Martin Smith, 2003


3/5

Veteran pilot Charlie Halliday (Barry Pepper) agrees to transport a sick Inuk girl named Kanaalaq (Annabella Piugattuk) along in his bush plane to bring her to a hospital after he makes a delivery to a small tribe. Soon after takeoff the plane crashes and he is left in the frozen wilderness to survive. His friends lose hope of finding him in the tundra, but he is fortunate to have taken the ailing passenger along with him.

Based on the short story "Walk Well My Brother", this drama contains some familiar themes. The American man teamed up with the capable native woman is similar to Dances with Wolves. The plane crashing in the wilderness, forcing the characters to utilize their survival skills is similar to The Edge. But this film certainly has some unique qualities, and it is certainly one of the better Survival dramas made. A few minutes into the film you get a feel for Charlie's character, as he boozes it up while playing pool in the bar. He's full of himself, and everyone knows it. Some of the men around him are bothered by it, while some women are attracted to it. It's similar to his character Frank in Spike Lee's 25th Hour. A man with a clear Inuit descent accidentally bumps into him and is clearly apologetic about it, but Charlie pushes him away with dismissive aggression ("I am NOT your brother..."). This shows the divide between his people and the natives, the natives who he would later come to appreciate for helping him survive. Kanaalaq is at first just a coughing girl wrapped in animal furs, but she soon becomes a rather critical key to his survival. Without her help, he without a doubt would not have made it. Her instincts had a relaxing quality, because she never appears to be out of her element. The plane crashes, she immediately throws a line into the water to catch a fish - knowing that they need to be worrying about their next meal. Her lack of English makes it difficult to communicate at first, but she slowly picks up on some words. Piugattuk was very effective at showing someone who was trying to use the English language but was still getting caught up in some of her native tongue. While the barren landscape at times feels a bit too forgiving and lacking natural predators, it was aesthetically pleasing. There were some really beautiful moments in the film such as one scene where you see a purple sunset combined with an Inuit song playing in the background. In the end Charlie is humbled by his circumstances, while watching you imagine that if he ever makes it home - he's going to be a changed man.

Master and Commander: The Far Side of the World

Peter Weir, 2003


3/5

This epic, based on the book by Patrick O'Brian, follows a British ship as it battles in the open sea against Napoleon's France. With his closest adviser growing impatient with his hunger for war, he continues to struggle to maintain a stronghold in the South American waters and also keep his soldiers morale at healthy levels.

Russell Crowe stars as Captain Jack Aubrey, a veteran captain who has lived through many battles and served under many famed leaders. You get the feeling that he doesn't like the feel of soil, it seems as if his true comfort zone is on his ship. There is a noticeable benevolence that he shows to the youngsters on his ship, with the hopes that he can set a good example for them as they will lead one day themselves. He clearly sees a lot of himself in them, and treats them to stories of his early days as he sips his wine. The film is not just a lengthy war movie, it's a character study of Captain Aubrey - and his interminable hunger for battle. He obviously wants to make his mark in the history books.

The film won Oscars for Best Cinematography and Best Sound Editing. The camera work is very impressive, seeing as the entire movie is shot in the obvious presence of water - which at times is delivered in the form of violent storms. The ship itself feels like it's in another world at times. Almost other-dimensional, like in Valhalla Rising. The cabin is beautifully constructed with some memorable shots of the camera moving through battle scenes, showing cannon fire and soldiers frantically rushing to their posts. Shots of the foggy horizon, with the sudden orange glow of an impending onslaught. While the loaded dialogue is difficult to keep up with at times, the film is still quite alluring. Weir effectively develops characters that you take a genuine interest in.

Argo

Ben Affleck, 2012

4/5

Past Oscar-winner Ben Affleck directs this Period piece about the 1979 Iranian hostage crisis. After the United States grants asylum to cancer stricken leader Shah Mohammad Reza Pahlavi, the streets of Iran erupt in chaos. Demonstrators storm the U.S. embassy demanding the U.S. return the Shah. Most of the State Department workers are held hostage but 6 manage to escape to the Canadian Ambassador's secured home. Without a lot options, they decide to send Tony Mendez (Affleck) into Iran as a Canadian filmmaker who will be scouting locations with his 6 cast-mates for a Sci-Fi film titled Argo. This will give him an opportunity to get the hostages out of the country with fake Canadian passports.

Affleck's film-making abilities really shine in this taut Thriller, with a lot of help from Cinematographer Rodrigo Prieto (Babel, 21 Grams, Brokeback Mountain). It's a very nice looking film that plays on tension and shifting viewpoints to keep things moving along. Remarkable Cinematography combined with a Time-appropriate soundtrack, the transitional shots with the 70's rock (such as Van Halen's "Dance the Night Away" playing as actors in costume prepare for a table read) are well-placed and give you a break from the tensity.

I've always said that Affleck is better behind the camera than in front of it, but he is effective as Tony Mendez because its a character naturally calm and collected that really doesn't call for a lot of range. Some of the tense moments are reminiscent of fellow political thriller Zero Dark Thirty, but Argo ultimately stands out on its own. Those who may be skeptical that the story itself may feel dull will be surprised. Ample time spent on the protests, to the State Department contemplating their next move, to the Hollywood prep, and then ultimately putting the mission into action. The multiple perspectives only add to the detail. You're seeing things through the eyes of the Iranians, hostages, Argo production staff, State Department, and the American citizens. All of which come well-placed with adequate time spent with each.

Probably my favorite scene in the film is the scene with the VW bus moving through the crowd. It's so tense and well shot; you are literally sitting in the vehicle with them with your heart beating in unison as the Iranian hands pound on the glass windows in a symphony of anger. Some of the comedic elements also give you a nice break as well. Alan Arkin as Lester Siegel, the vocal foul-mouthed producer, and John Goodman as John Chambers, the talented Hollywood make-up artist. The clouds of cigarette smoke and bad eyeglass frames only add to the authenticity. Keep your eyes peeled at the end credits for photographs of the actual people involved with their Hollywood counterparts which was very interesting to see. "Argo f$%# yourself"!

Friday Night Lights

Peter Berg, 2004


3/5

The Permian High Panthers are a high school football team that gives the depressing town of Odessa, TX hope... and also high expectations. The players are competitive yet innocent, looking ahead to their future while also trying to please everyone around them by bringing home the big victory. Based on the book by H.G. Bissinger.

Berg successfully captures the rapid pace of a football game, and augments his unsteady camera work with a transcendent soundtrack. Transitional shots of industrial rust-littered landscapes are peppered in throughout the film with beautiful, ambient musical elements that are reminiscent of early Modest Mouse. The high expectations resonate throughout the town, from the deadbeat old-jock father vicariously living through his son's athletic moments to the African American uncle who just wants his nephew to have a future more meaningful than his own. The high expectations of the Panthers do not just stop at the players. Coach Gary Gaines (Billy Bob Thornton) feels the weight of the pressure on his own shoulders, and at times wonders if the long hours and late-night arrivals at home to a cold dinner plate are really worth it. Berg effectively paces the film to a big climax of a championship game. Versatile cinematography really puts you in the middle of the action on the field, although at times it's a bit erratic with jumping back to the scoreboard quickly and then back to the line of scrimmage. You find that you lose track of the game clock, presumably because Berg wanted to focus on the individual player drama more than the technical details of the game. Too often sports dramas have that cheese factor: repetitive shots and exhausting cliches with scenes that might as well play out to the "Chariots of Fire" theme on repeat. Berg avoids the cliches here and really paints a compelling picture.

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.