Category Archives: Reviews

ARCHIVE REVIEW: Magnolia

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Magnolia
Directed by: Paul Thomas Anderson
Written by: Paul Thomas Anderson
Starring: Tom Cruise, Julianne Moore, William H. Macy, and Philip Seymour Hoffman

Capturing the entirety of the human experience is an ambitious goal, one that many filmmakers never really feel up to tackling.  Paul Thomas Anderson thinks its third feature material.  Let’s face it though, the movies are better when the focus is narrowed.

That’s not to say Magnolia is not a beautiful, often breathtaking piece of work.  It is, in fact, a blueprint of sorts of the new decade of filmmaking that was to follow in the year 2000.  The seemingly unrelated yet interwoven storylines of films like Traffic, Babel or Crash meet the bizarreness of network television polluting Requiem for a Dream.  Bookending the film is the snarky know-it-all narrator you may know from Woody Allen films.

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REVIEW: Hanna

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Hanna
Directed by: Joe Wright
Written by: Seth Lochhead & David Farr (screenplay)
Starring: Saoirse Ronan, Cate Blanchett, Eric Bana, and Olivia Williams

Looking at a DNA report that concludes the subject is “Abnormal,” is probably the last thing a teenager needs to see.  Though when said teenager has just finished disposing a handful of government agents like life were on the “Easy” setting, it may be the least of her worries.  But Hanna (Saorise Ronan) still looks slightly wounded when looking at that piece of paper.  It’s one of the few moments director Joe Wright stops to smell the emotion in this thrilling exercise in kinetic action.

Hanna begins in the arctic wilderness, where her father (Eric Bana) has kept and trained her since he went rogue from the CIA.  She was bred for tactical assassinations, something he infuses with his own agenda.  Hanna is tasked with taking down Marissa (Cate Blanchett) the woman he claims has killed her mother.  Wright never lingers in loss or death in this film, putting Hanna in constant motion throughout.  It is a vision of what last year’s Kick-Ass would’ve looked like had the subject been only focused on Hit-Girl and her father.

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REVIEW: Vincere

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Vincere
Directed by: Marco Bellocchio
Written by: Marco Bellocchio & Daniela Ceselli (screenplay)
Starring: Giovanna Mezzogiorno, Filippo Timi, Corrado Invernizzi, and Michela Cescon

Benito Mussolini and the exploits of Fascist Italy are criminally underfilmed in the annals of WWII films when compared to Hitler’s Nazi regime.  Because Mussolini took a back seat, his atrocities appear to somehow be less atrocious in the eyes of history and film.  Vincere, an astounding Italian film from Marco Bellocchio, does not show us his direct rule, but rather slims its focus on his horrendous treatment of his first wife, Ida Dalser (Giovanna Mezzogiorno).

Dalser falls in love with him from the moment she sees him challenge God in a crowded forum.  It’s the beginning of his revolution, when he still had time for love between the killing.  This isn’t a movie about Mussolini, though.  This movie is about Ida, who he abandons for another woman after he goes to war.  He leaves a son and a woman scorned behind.

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REVIEW: Howl

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Howl
Directed by: Rob Epstein & Jeffrey Friedman
Written by: Rob Epstein & Jeffrey Friedman (screenplay)
Starring: James Franco, David Strathairn, Jon Hamm, and Jeff Daniels

There’s a moment in Howl, an aesthetically pleasing rumination on the creation and subsequent censorship trial of the infamous poem by Allen Ginsberg, where one of the many expert witnesses called to the stand is asked to explain its meaning.  He remarks that you can’t be asked to translate poetry into prose.  So it goes for the rest of the movie, where co-directors and co-writers Rob Epstein and Jeffrey Friedman take the poetry of “Howl” and the prose of interviews and court trials surrounding it, and weave a film out of it.

Epstein and Friedman have an insistence  on historical accuracy from the beginning.  The filmmakers go above the call of the common “Based on a true story,” slogan and instead proclaim that all of the dialogue in this film was uttered by the people it’s attributed to.  They even go so far as to say that in that sense, it could be read like a documentary.  Once you get a glimpse of the finely arranged frames, the shifting color palettes, and the highly-stylized animation sequences, though, you’ll know it’s something else.

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REVIEW: Sucker Punch

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Sucker Punch
Directed by: Zack Snyder
Written by: Zack Snyder & Steve Shibuya (screenplay)
Starring: Emily Browning, Abbie Cornish, Jena Malone, and Vanessa Hudgens

Remakes and graphic novel adaptations are Zack Snyder’s MO.  Lately though, with last year’s Legend of the Guardians and now Sucker Punch, he’s decided to take his over-stylized style off of the comic book page and map out novels or original material into his own wild odyssey.

Sucker Punch has Snyder’s name all over it from the get-go.  It begins with a violent slow-motion sequence of a young girl (Emily Browning) accidentally shooting her sister when she was aiming for her wicked stepfather and then being brought to a mental hospital where she will await her lobotomy.

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REVIEW: The Lincoln Lawyer

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The Lincoln Lawyer
Directed by: Brad Furman
Written by: John Romano (screenplay), Michael Connelly (book)
Starring: Matthew McConaughey, Marisa Tomei, Ryan Phillippe, and William H. Macy

Matthew McConaughey is one of the most knocked around actors working in the modern Hollywood studio system.  He’s so derided by critics that people forget that he can actually act.  So here he is in The Lincoln Lawyer, putting on a shirt and a serious face and earning back some street cred.

Directed by Brad Furman with a keen sense of what thrills and what doesn’t, The Lincoln Lawyer is a court procedural that stresses politics outside the courtroom as much as in them.  It’s a movie with a story to tell (one originated by Michael Connelly), one that isn’t watered down to the basics or drowned out by explosions.

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REVIEW: Enter the Void

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Enter the Void
Directed by: Gasper Noé
Written by: Gasper Noé
Starring: Nathanial Brown, Paz de la Huerta, Cyril Roy, and Ed Spear

Until Kanye West “borrowed” Enter the Void’s opening credit sequence for his music video for “All of the Lights,” director Gasper Noé was most famous for a nine minute rape scene in his film Irreversible.  This makes his work hard to approach, but Enter the Void is a rewarding hallucinatory venture and engaging exercise in experimental filmmaking.  Told entirely from a first-person/first-spirit perspective, the film follows Oscar (Nathanial Brown) as he gets high, gets killed, and gets reborn.

Watching Oscar get shot in the bathroom as he tries to dump out his drugs during a police raid and then rise up and watch his body from the afterlife is haunting because of its simplicity.  Images like these are the biggest strength of Noé’s film.  You might think that the first-person setup would be a limitation, but he subverts the gimmick and creates an experience that is truly one-of-a-kind.  The goal of his film is not to get you on Oscar’s side, but rather to watch him see the imprint he left on the world.   Noé seems to be showing us that even the people with the smallest or grimiest of contributions leave their mark.

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ARCHIVE REVIEW: Vanilla Sky

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Vanilla Sky
Directed by: Cameron Crowe
Written by: Cameron Crowe (adapted screenplay), Alejandro Amenábar & Mateo Gil (original screenplay),
Starring: Tom Cruise, Penélope Cruz, Cameron Diaz, and Kurt Russell

The trouble with success is, you always have to follow it up with something.  In the case of Cameron Crowe, who was adorned the king of both rock music and the film world in 2000 with Almost Famous, follows it up with this surreal, weird, and ultimately unsatisfying trip through the perpetual abyss of love and loss.

Another perk of success, at least in Hollywood, is that it allows you to draw in A-list names to your cause.  In the case of Vanilla Sky, Crowe draws in the great (Penélope Cruz), the good (Tom Cruise) and Cameron Diaz.  This big-name ensemble, which is led by Cruise but scene-stolen by Cruz, follows silver-spoon publisher David Aames as his life spins in and out of reality after a car crash.

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REVIEW: Another Year

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Another Year
Directed by: Mike Leigh
Written by: Mike Leigh (screenplay)
Starring: Jim Broadbent, Lesley Manville, Ruth Sheen, and Oliver Maltman

Ordinary life is delicate business, or so Mike Leigh wants you to think in his latest film.  Another Year and its cast of aging characters are both intimately familiar and lived in, and yet like nothing you’ve ever seen.  Leigh shows us happiness at its most stable and misery at its most crippling, usually in the same scene.

He does this chiefly through Tom (Jim Broadbent) and Gerri (Ruth Sheen), a happily married couple who are used to each other and the joke that their names often bring out in people.  Their life together, though, is something they take seriously.  Using their house as a kind of fortress from sadness, Leigh takes us through a year in their lives and the lives of those closest to them.  We begin in spring and end in winter; life to death.  It sounds more dramatic than it is.

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REVIEW: Rango

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Rango
Directed by: Gore Verbinski
Written by: John Logan (screenplay)
Starring: Johnny Depp, Isla Fisher, Ned Beatty, and Bill Nighy

Go ahead, label Rango an animated vehicle for Johnny Depp driven by his Pirates of the Caribbean director Gore Verbinski.   You wouldn’t be wrong, but you would be guilty of oversimplifying one of the most outlandish and downright weird animated movies to cross mainstream audiences in a long time.

It seems almost mandatory at this point to acknowledge that Rango is indeed not a product of Pixar.  However, it doesn’t come from Dreamworks either, but rather Nickelodeon.  To this end, the bizarre twists and somewhat more mature material seem more at home.  So too does Depp, voicing The Chameleon With No Name who later assumes the identity Rango when he stumbles into an Old West Town.

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