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.

Y Tu Mama Tambien

Alfonso Cuaron, 2001


4/5

Set in Mexico, privileged teens Julio (Gael Garcia Bernal) and Tenoch (Diego Luna) encounter a beautiful older woman named Luisa (Maribel Vernu) at a prominent family wedding. They attempt to impress her by telling her their plans to travel to a faraway beach. When she surprises them by showing interest in tagging along with them, they scramble to put the trip together. Little do they realize the impact this road trip will have on the rest of their lives.

Alfonso Cuaron's coming-of-age, hormone-driven road-trip film runs on a much traveled road (no pun intended) but certainly takes its own original path. At times very raw and offensive, but also very authentic and honest. To simply call it a road trip film would be unfair. It's about life experience. Growth. Love. Being young. Living in the moment. Indulgence. Change. Consequences of past actions. The barren, destitute Mexican towns and villages give way to serene coastal views. The abandoned road-sides give way to sand-floor Cantinas. The run down motels give way to a welcoming tent on the white beach. Julio and Tenoch, moderately wide eyed and innocent, give way to experience and life lessons. Their relentless sex-drive is quite evident early on. In a way it could be the most exaggerated feature of the film, but its clear that it reinforces the overall theme. At times they come off as selfish and lazy, but there are snippets of generosity and kindness here and there (they never turn away a beggar or anyone holding a cup out). They are loyal friends, for the most part. They are young, thrill-seeking, and unaccountable. And then enters Luisa. They ascend on her at the family wedding like hungry wolves. When she jumps at the idea of going to the ocean with them, they are surprised. Little do they know she has her own agenda. But regardless, she becomes instrumental in changing them forever. Maribel Verdu brings a lot of vulnerability and experience to her performance.

The film has a memorable visual elements but also has a fitting score along with interesting narration peppered in throughout. Although there are hints of danger and political unrest in the film, Cuaron's Mexico appears to be actually quite kind. When there's a breakdown on the side of the road, there are helpful hands that will help tow via tractor. When the group sit down for a meal during their travels, there's less of an emphasis on monetizing and more of an emphasis on community and enjoyment. There's an obvious disparity of wealth, but there's no judgement present. The film has a story that grows and goes. And who knows, by the end of the trip maybe you'll be changed too.

The Hobbit: An Unexpected Journey

Peter Jackson, 2012


4/5

Bilbo Baggins is surprised to find his normally quiet home suddenly filled with dwarves, at a dinner organized by Gandalf. He learns that his presence is requested on a journey to the Lonely Mountain to reclaim their home that has been overtaken by the dragon Smaug. Hesitant and not so ready to leave his peaceful life, Bilbo realizes that it's a once in a lifetime opportunity that will provide him with a fascinating tale to tell.

Well, it's been ten years since the last film. And Mr. Jackson, you did it again. You once again bring everyone into Tolkien's world. As the camera flies over the Shire, you look down and pick the dwelling that you would want to occupy. When the dwarves surround the thick wooden table with drink in hand and ready for song, you wish you could be there to join in. It's interesting that Tolkien's world becomes so inviting, because when it comes down to it - it's quite volatile. Even Bilbo himself can't escape the conflicts outside of his small community. This film feels largely consistent with the Lord of the Rings Trilogy, and Peter Jackson has a proven track record of meeting and beating expectations with the films. It's more of a micro story than the very macro feel of the Rings films. Martin Freeman seems like he's born to play Baggins, never missing a cue and delivers a great deal of energy. The film is of course a feast for the eyes. The saturated greens of The Shire, the endless plains, the shadowy forests that are just exuding bewilderment. You venture below ground, to the firelit crevices where the Orcs dwell. Everything feels so elaborate. There's some familiar faces, and of course some new ones. CGI Porn at it's best. There is a sense of refinement to the effects. Perhaps it's because of the advances in technology, or perhaps it's been a while since the last viewing of the Trilogy. The sudden shifts in perspective that the camera makes are so fluid and they never take you out of the moment. There's of course not one bad shot in the film. The Lord of the Lord of the Rings does it again, and why wouldn't he? He's had practice. It's just another great story of the underdog. Themes of loyalty, courage, companionship. Not looking back, pushing forward - even if you're homesick. The universal clinging to materialism. Old grudges. Honor. Drunkenness and dwarf songs. It's all there. And it's put together so nicely.