Reviews

Debra Granik's WINTER'S BONE is one of the better films of last year. It's an intimate portrait of rural Missouri, revolving around seventeen-year-old Ree, whose meth-manufacturing father has left her to care for two younger siblings and a sick mother. Ree's father Jessup has gone missing, but he put his property up for bond. Meaning, if Ree doesn't find her father within a week--either that, or proof that he is dead--she looses the house and the land. Unfortunately, her father's extended family seems inclined to let sleeping dogs lie, to the extent that Ree finds herself in genuine danger. Her only accomplice, if you can call him that, is her uncle Teardrop, who may be as dangerous as everyone else around her.

As Ree, Jennifer Lawrence carries this film on her more-than-capable shoulders; she is the rock of the film, anchoring it down so tightly that even the other stellar performances-- especially John Hawkes as Teardrop--pale by comparison. A lot of the cast aren't even professional actors, which lends the film an extra air of authenticity (that, and the fact that it was shot on location). WINTER'S BONE is, without a doubt, a small production; and while that can sometimes ruin a movie, here it helps. The script is good though not wholly memorable; the real grit here lies in the actors' performances, without which this film would've been a mediocre idea and best forgotten. As is, it's nominated for 4 Academy Awards, and goes down as one of the best films of 2010 (a year in which quite a few good movies were made).

Dave Linewski (Aaron Johnson) is your everyday average 17 year old nerd. Girls don't notice him, thugs steal his money, him and his friends sit out around at comic book shops reading comics and talking about girls and why people never become superheroes. After getting fed up with the crime in his city, though, Dave decides to take matters into his own hands and becomes his own masked hero: Kick-Ass, and becomes a local web and news sensation. Things aren't as easy as they seem for a juvenile crime fighter as he soon finds out, luckily he makes friends in the form of Big Daddy (Nicholas Cage), a Batman-like vigilante, and his 11- year-old sidekick Hit Girl (Chloe Moretz) who aren't adverse to the idea of literally taking out the scum of the earth. But when members of his crew start turning up dead, drug kingpin Frank D'Amico (Mark Strong) puts a price on Kick-Ass's head.

Mark Millar is an acclaimed comic writer best known for Wanted (which became the movie starring Angelina Jolie and James McAvoy) and his take on an alternate reality where Kal-El landed in the Soviet Union instead of America called Superman: Red Son. For Kick-Ass, Millar went back to conversations him and his brother had about becoming masked vigilantes, and took the conversation a step further and looked into what would actually happen if a teenager actually decided to take that step. As Millar got working on that comic, he also started working with Matthew Vaughn (director of Layer Cake, producer for Snatch and Lock, Stock, and Two Smoking Barrels) on some early ideas for Thor, but when Vaughn left Thor he started talking to Millar about his other comics. What started out as a plan to adapt American Jesus (Millar's sequel to the Bible) soon turned to conversations about Millar's still in the planning stage Kick-Ass.

Kick-Ass is the anti-comic book comic book movie. It skewers the genre while also paying loving homage to them. It would be all to easy to say it's a spoof of the genre, because while at times it may poke fun at the genre (remember that scene in Spider-Man where Peter Parker runs across a rooftop and jumps to the next roof, there's a spoof of that) it still also takes it's place amongst it's comic book peers with all seriousness. Kick-Ass is a very dark movie, not afraid of withholding the violence that a choice of vigilante crime fighting will lead to, even if that means beating an 11-year-old girl. This is graciously offset by a lot of comedy, chances are if you're not cringing from people's limbs getting hacked off or their heads exploding (yes there is one scene where that actually does happen) you'll be laughing hysterically. Not to mention pointing out to yourself homages to other comic book iterations (the aforementioned rooftop run, Big Daddy's Adam West like cadence when talking in the suit, Kick-Ass in an alley staring up at a wall as if about to scale it like Peter Parker, etc.)

The acting in the movie is phenomenal. Nicholas Cage hasn't been this good in years, and I was personally surprised to find out Aaron Johnson, who plays the title character, is actually a Brit. Christopher Mintz-Plasse (Superbad, Role Models) continues to surprise, considering most actors his age would have been typecast by a role like McLovin, and his arc actually did surprise having seen all of the trailers and promotional material for the movie prior to seeing the movie. The movie, though, is completely stolen by Chloe Moretz ((500) Days of Summer) as the foul mouthed, butt kicking 11-year-old Hit Girl. She plays the role with such force that you genuinely believe that full grown men, mafiosos, would be afraid of this 11-year-old girl.

Naturally, this movie isn't for everyone, as we've seen from the brouhaha that's erupted for a little girl uttering the "C-word", but this is one movie I think it's rewarding to see below the surface. There's a certain hint of satire in it's brutality meeted out by a child, and a certain tone in the movie that chastises us for not being more involved in helping those around us, while also showing it's understanding of why we sometimes choose not to. I honestly can say that I can find nothing wrong with this movie, and I'm currently considering adding it to my top 10 all-time favorites list. I highly recommend that you give it a try!

Ben Affleck, who proved he could write, with the Oscar-winning "Good Will Hunting", and act, with "Hollywoodland", now demonstrates a remarkable flair for directing, as well, in the superb "Gone Baby Gone". This gripping 'lost child' drama, cutting through the layers of lower-income South Boston, displays amazing sensitivity, and Oscar-caliber performances by a top-notch cast.

Adapted from Boston novelist Dennis Lehane's best-selling novel, the film unapologetically views a neighborhood crushed by poverty, alcoholism, and drug addition, yet clinging to a stubborn pride. When a little girl disappears, the child's aunt (Amy Madigan), frustrated by the slow progress of dedicated cop Morgan Freeman, hires local detective team Casey Affleck (Ben's brother) and Michelle Monaghan to join in the search. Despite only cursory assistance from the detectives handling the case (Ed Harris and John Ashton), Affleck discovers a web of lies and deceit, starting with the child's drug addict mother (Oscar-nominated Amy Ryan). As the layers of deception unravel, questions of integrity and 'best interest' are raised, lifting the film far above a simple detective story! In many ways, Affleck's 'Patrick Kenzie' is a descendant of film detectives of the past, from Sam Spade and Phillip Marlowe, to Lew Harper; a man with a code of honor and unshakable integrity, hidden beneath a flippant exterior, facing a world where morality and truth are colored in shades of gray. It is a nearly impossible situation, and Casey Affleck is extraordinary in the role, capturing the anguish of a man whose virtues might destroy any hope of happiness. Equally good are Monaghan, combining beauty, stability, and humanity, and Harris, whose true character unfolds gradually, in a remarkable acting tour-de-force.

Ben Affleck's compassion and deep devotion to the people of the grittier side of Boston makes him an ideal storyteller, and provides an authenticity to each scene that only a 'native' could provide. This certainly doesn't 'feel' like the first production of a novice filmmaker...

Bravo, Ben!

"Elizabeth: The Golden Age" picks up pretty much where 1998's "Elizabeth" left off. The time is 1588, a full thirty years into Elizabeth I's phenomenal reign as Queen of England. On the continent, Europe is caught in the grip of a papal-decreed Holy War, while, in Britain, the Virgin Queen faces numerous threats to her throne and person from enemies both within her realm and without. The latter include King Phillip of Spain, who views the Protestant Elizabeth as nothing less than the devil himself come in female guise to tear down the one true apostolic faith, while the former consist mainly of her own disgruntled citizens, loyal to the Catholic Scottish queen (and Elizabeth's own cousin), Mary Stuart, currently being held prisoner for suspected acts of sedition against the Crown.

Whereas the first "Elizabeth" was a remarkably dark and brooding study of the times in which it was set, this follow-up takes a much more feel-good approach to the era (despite the occasional torture sequence or the random tongue-removal or beheading). Returning as director, Shekhar Kapur has mounted this film with an eye toward mass audience consumption, focusing far more on the rather jejune - and largely fictionalized - romantic escapades of the Queen and Sir Walter Raleigh, than on the far more intriguing sociopolitical issues of the time. The scenes depicting this more or less "platonic" love affair are the most poorly written in the film, utilizing dialogue that ranges from the pedestrian and the pretentious to the downright laughable and silly. Clive Owen certainly looks dashing enough as the legendary, cloak-dropping "pirate," Sir Walter, but he plays him with such an Errol Flynn air and demeanor that he quickly reduces the character to a movie-swashbuckler anachronism.

Cate Blanchett, who turned herself into a virtual household name with her star-turn in the earlier film, scores a similar triumph in "The Golden Age." She helps to humanize a figure who has all too often been encased in wax when presented on screen. In an obvious effort to make her more "identifiable" to modern audiences, the writers, William Nicholson and Michael Hirst, may have erred in making her just a mite too petulant and petty at times, but Blanchet is scrupulously careful to avoid crossing the line into buffoonery at any point in the film. This Elizabeth is definitely feeling the burdens of her position and she often finds herself caught between reveling in her position of authority and privilege and secretly desiring the unscrutinized life of the anonymous, "regular" commoner. The always reliable Geoffrey Rush also returns as her now-aging adviser, Sir Francis Walsingham.

Yet, for all its flaws, and despite its tendency to wander off into the realm of soap opera and melodrama a bit too often, "Elizabeth: The Golden Age" is still a fairly engrossing and entertaining piece of historical drama, and certainly nowhere near the unmitigated disaster many critics have accused it of being. For despite the extreme elaborateness of its clothing and sets, the film never really devolves into a stagnant or stale costume drama, thanks, in large part, to the richness of Blanchett's performance and to the reasonably fast-paced nature of the narrative. Lucky for the audience, Kapur keeps the movie going by never dwelling too long on any given scene (although I do wish that he had toned down the music a scosh).

The first "Elizabeth" was a genuinely great film; yet, while this second installment may not be quite as "golden" as either its title or its pedigree might suggest, it's still hard to resist the lure of that Elizabethan magic.

The Untouchables works in a variety of ways all which lead to a good time at the movies. From my readings of articles and viewings of newsreel footage of the real Al Capone, De Niro's Capone suggests what the crime boss may have been like. I think it's the best interpretation to date. Sean Connery is his usual terrific self and is given some first rate dialogue. The 4 Untouchables each has a strength which combines well to make an excellent team equipped to bring down Capone. According to available literature on Ness and company, the script strays from certain realities, but, so what? The movie more than makes up for that in other ways. My only gripe is the less than good moments from extras with their unconvincing remarks during certain action scenes (in minor ways, extras reactions can add or subtract from moments in a film). Billy Drago's Frank Nitti looks and sounds like a character from a drama set in the South. It's an otherwise colorful interpretation though to be enjoyed within the context of the movie's entertainment value. Kevin Costner, Andy Garcia, Brad Sullivan, etc. are all excellent in their respective roles; great score by Morricone. I highly recommend this as a top example of Hollywood entertainment.

As an alternative vision of the Robin Hood story, I thoroughly enjoyed the movie. It isn't perfect but is great entertainment. The writers and directors have done an excellent job of reproducing a thirteenth century world. The barons live under conditions not far removed from their serfs. Everybody is unwashed and filthy and the floors of the liege halls are covered in old straw. A bath is a splash of water and people sleep with their hunting dogs.

I especially enjoyed 'Maid' Marion as an older woman who, like Penelope of Ithaca, has remained faithful to her war-lost husband for 10 long years. She is one of the true heroes of the story, strong and noble at the same time. Still, the writers tried to get it right. Despite the fact that she lives a life not far removed from her 'subjects', she is still a noble. Relations with a commoner--even a brave, attractive and noble commoner--approaches social and personal impossibility.

Warfare is brutal and even our 'Robin Hood' character admits to an act of incredible evil. Three thousand Muslims were slaughtered at Acre and our hero followed his King's orders and slaughtered a young woman at his feet. Our man detests both himself and his King for what was done, tells him about it and....

I also enjoyed the way the writers and directors developed the character of the initially juvenile and spoiled Prince John. He matures but the film goes back on itself and ends rather weakly. I understand this, because the producers hope for a sequel, but it doesn't help the quality of the present film.

Politically, the film is fascinating. The Robin Hood story has always had heavy political and egalitarian overtones. This film emphasizes it more than most Robin Hood stories. Not once do we hear reference to the old Saxon-Norman rift. It is a story of the power of the king against lesser men. As such--despite the fact that the writers may not have intended it--there is much for worried constitutionalists to celebrate about this film. Central governmental power is shown in a negative--even evil--light. Yeah.....

I grew up on Eastwood. My parents are huge fans; they actually saw The Good, The Bad, and The Ugly in the theater 3 times when dating. I can name every movie just off the music Eastwood was in. When seeing the previews for this movie, I knew I'd have to have this one. Everyone has told me this movie is no disappointment; the previews were very thrilling. I did expect more action, however, the friendship that forms between the crotchety Walt and Thao is heartwarming.

Walt is a war veteran, very racist, unhappy, mean, and in need of a friend; someone to care about who cares about him. When he chases the local gang off his lawn saving Thao's hide, Thao is indebted to him and begins to work for him. Through this they become friends. Walt's family is nothing but greedy and distant. Walt soon saves Thao's sister from punks and instantly makes a friend out of her.

The movie is about the car but isn't. Everyone wants that car, but only the one deserving will get it in the end. My mother warned me the ending was not what I'd expect and boy was she right. I knew there would be death on both sides, but I just didn't know how that would come about. I did cry my eyeballs out at the sacrifice and the friendship shown.

This was an excellent movie, you must watch and own. Truly an Eastwood best. Imagine Dirty Harry old and meaner and you have Walt. This movie is now one of my favorites, right up there with Sudden Impact, The Good The Bad and the Ugly, High Plains Drifter, Pale Rider, For a Few Dollars More, A Fistfull of Dollars, just to name a few of Eastwood's movies that will never grow old.