Reviews: Red (2010, Dir. Robert Schwentke) & Tamara Drewe (2010, Dir. Stephen Frears)

Nancy Botwin, Super Spy: Mary-Louise Parker and Bruce Willis in the action-comedy Red.

Red--Sometimes a film can assemble such an amazing cast that the plot is easily overshadowed by all the star-power. Well, actually, that's usually the case, but Red is too likable to be put down. Bruce Willis, Morgan Freeman, John Malkovich, and Helen Mirren are all retired ex-CIA agents being hunted by present employees and race to find out the plan behind these violent hits. Mary-Louise Parker is added to the fun as Willis' quirky love interest. Their chemistry is sweet and strong, but mostly hilarious--it's refreshing to see both actors have so much fun with such crisp comedic timing, especially Parker's humor translating so well to the big screen. All the other actors are in fine form, in addition to wonderful appearances by Ernest Borginine and Richard Dreyfuss. The problem with Red is that it comes off so slight--the performances try to overshadow what's going on but the plot is poorly constructed, begging the audience to ask what the point really is other than to see all these great actors on screen. Plot holes and implausibility run rampant, but the dialogue is too funny and the action scenes are too elaborate to induce boredom. Red, at its heart, may not be a great (or really, good) movie but we can't deny its wish to have fun--the actors are chuckling along, so why don't you? Just make sure to kick everything else under the rug, including logic.

Grade: B-

Pastoral Pain: Gemma Arterton is just one of the weaknesses of Tamara Drewe.

Tamara Drewe--Sometimes a film can assemble such an amazing cast that--well, adds nothing to the mundane experience being projected. Stephen Frears is an admirable director I've always enjoyed because of his willingness to jump between different genres (Dangerous Liasons, High Fidelity, The Grifters--all terrific), and he's trying to make a similar leap here but it only collapses. Based on the comic book, Tamara Drewe tells the story of the title character who returns to her native English village to sell her family house, but gets ends up getting caught in the intermingling romantic antics of her neighbors. Moira Buffini's screenplay is, at times, insightful with witty dialogue, but doesn't save the film. The overall movie acts as a character piece (where plot takes a step to the side), but the problem is that none of the characters are interesting, deep, or developed at all. Some performances are memorable and effective (Roger Allam and Tamsin Greig, for example), but the other actors are so wooden and their characters so cliched that Tamara Drewe just becomes a repetitive bore that achieves very little throughout. The message is evident in the first five minutes, though the film drags it through bland 'drama' and caricatures of people for nearly two hours. Frears is a talented director, but let's hope this misstep guides him to tackle other stories of more substance.

Grade: C-

Carrie (1979, Dir. Brian DePalma)

Isn't she lovely: Sissy Spacek as the telekinetically irresistible Carrie.

Carrie--You think you had it rough in high school? Try walking in Carrie's shoes for a day. Brian DePalma's 1976 horrific drama focuses on a teenage girl, played by Sissy Spacek with a schizophrenic range of emotion, who endures all of the hardships of 12th grade while harboring her telekinetic powers. Her religious zealot of a mother (a haunting and brutal performance by Piper Laurie) condemns her for everything from smiling to getting her period, possibly enhancing Carrie's mood disorder. Though an elaborate prank at the school prom finally pushes the teenager's buttons, and all hell (literally) breaks loose. 

DePalma's film sure has received a lot of criticism regarding its misogynistic undertones. Female rage is vibrantly displayed, particularly in the iconic, pig-blood scene, hinting at witch craft's implication that there is inherent evil within these female practitioners. Though he indulges himself with nearly every cinematic technique in the book (or film, one should say, with canted angles, red filters, split screens, etc.), DePalma is merely creating terror out of the least possible source--a shy teenage girl. It's not misogyny, but a reinvention of the supernatural female in a different context: high school. Spacek embodies this rage, humiliation, quietness, and misery that gets more and more compelling by scene. Laurie's performance may be one-note, but it's brilliantly terrifying and resonating--the quintessential (and paradoxical) mother-from-hell. Carrie may be scary, but it has a wit and intellect to it that puts it a few notches above other teen horrors--it knows what it's trying to accomplish, and it does. It's an effective, tongue-in-cheek critique of high school society with a female 'protagonist', whose title we question throughout.

Grade: A-

Review: Paranormal Activity 2 (2010, Dir. Tod Williams)

More than 'bump' in the night: Surveillance watch is a go in Paranormal Activity 2

Paranormal Activity 2: I'm extremely critical when it comes to sequels, and when it comes to horror films. I don't know why, but I feel as if my level of enjoyment is always challenged when watching either type of movie. So, when the two come together, imagine my expectation. Luckily, this horror-sequel got it right. 

I am not a fan of Paranormal Activity--I thought the prominent techniques causing scares were merely gimmicks and the story line was weak while lacking any tension. Though the sequel reuses the surveillance angles and sudden 'movements' (there are lots of 'gotcha' moments), they mostly don't act as cheap thrills but move along the story and build *real* tension accordingly. The characters are much more drawn-out this time around, and help establish this film's position in the horror genre; in the first film, they were too archetypal to create any lasting effect. There's not a lot I can say about this film without revealing the narrative's trajectory, other than it cleverly executes and explains it. This film, more so than the first, has enough substance and technical grounds to make it 'scary' and surprisingly resonating--there are many added dimensions (narratively, conceptually, etc.) to the sequel that make it more accessible and memorable. Even if its recycling can cause the same frustration experienced in its predecessor, the thrills it eventually makes create the horrific effect the first film failed to do. More importantly (and as a result), it's a fun and frantic time. 

Grade: B

Review: Jackie Brown (1997, Dir. Quentin Tarantino)

Shut Yo' Mouth: Pam Grier as the title character in Quentin Tarantino's Jackie Brown

Jackie Brown: The world of '70s heist movies bombastically collides with the cinematic style of Quentin Tarantino in his third (and most underrated) feature, Jackie Brown. Starring Pam Grier as a struggling airline employee, the film follows her character as she tries to smuggle $500,000 from her gun-running boss (a powerful turn from Sammy JJ--I mean, Samuel L. Jackson) while trying to lay-low from Federal Agents (Michael Keaton being one of them) hot on her trail. On the way, she gets help from an empathetic bail bondsman in the form of Robert Forster, in an outstandingly understated performance as one of Tarantino's most beautifully-drawn characters. The film ranks just as high as Tarantino's best (which, to be honest, are most of his movies) due to the unique characterization, *brilliant* dialogue, and terrific acting. Keaton, as well as Robert DeNiro and Bridget Fonda as Jackson's fellow employees, give memorable performances--Keaton is assured but unpredictable, DeNiro calm but layered, and Fonda gorgeous and volatile. DeNiro and Fonda's interplay is funny and dynamic, but it is the chemistry between Grier and Forster that is just irresistible. Their romance is sweet and strong while brilliantly underplayed to enhance the mystery and sadness surrounding both characters. Tarantino gives both of them room to breathe, and the result is unforgettable. 

The late Sally Menke displays rapid and stark editing at her finest, while the soundtrack further cements Tarantino's reputation and skill as a director. The music isn't to simply create a mood or style, but it's part of the plot in the sense that it's embedded in the story and awakens nearly everything onscreen. From Bobby Womack to the Grass Roots, the film's rhythm (both audibly and narratively) is definitively Tarantino. It's a funny, heartwarming, and pulsating crime caper that succeeds on every cinematic level. Experience it, ASAP.

Grade: A

Review: Conviction (2010, Dir. Tony Goldwyn)

We are family: Hilary Swank and Sam Rockwell star in Conviction 

Conviction--Around awards season, there are those particular films that aren't subtle about their desire to snag a few Oscars. The trailer for Conviction seemed to suggest the film was just another one of those, with the overbearing music and titles. However, Conviction turns out to be a sweet and gentle film on a much smaller-scale with its own emotional power that never comes across as preachy or excessive. Hilary Swank and Sam Rockwell play siblings who share an inseparable bond that the film successfully portrays without hitting many cliches. Once Rockwell's character is arrested and convicted for murder, his sister sets out to become a lawyer just so she can get him out. 

The surprises of Conviction begin with the narrative structure. It easily jumps around from flashbacks to the present without much confusion, while rightfully serving the story. The performances are all top-notch, as well--Swank is terrific while maintaining a good sense of restraint, coming off as a real human being rather than giving an inauthentic, suppressive turn. Rockwell is dynamite, and is sure to get his first (finally) nomination as he portrays mystery, sympathy, and humor into a character we come to know and trust. The supporting cast, notably Minnie Driver, Peter Gallagher, and Melissa Leo, are somewhat underused and don't have completely fleshed-out characters, but are effective in their roles nonetheless. While Conviction does a fine job with its cast, cinematography, editing, and mostly all other components, it seems as if that's it. It does a fine job, and doesn't shoot any higher. Part of the problem is that we're kept at a distance from the characters, and they only come off as the actors playing them rather than real people. It's not the actors' faults, it's just that if Goldwyn made different thematic decisions to portray the hardships and relational issues, they'd come across as more accessible and even more believable. That aside, Conviction is still a very good film in its own right--its an enjoyable and uplifting story with emotional heft and an outstanding performance from Rockwell. 

Grade: B+

Review: Hereafter (2010, Dir. Clint Eastwood)

 

Ooooh, Heaven is a place on earth: That song isn't in the film (I know, I know), but these two are.

Hereafter--Clint Eastwood just won't give up. Now, before anyone jumps to conclusions, that isn't necessarily a bad thing. In fact, in his eighties, Eastwood is a fine filmmaker who has presented some of the most powerful films in the past decade (Million Dollar Baby, Letters from Iwo-Jima, Gran Torino), but lately it seems his work is a little underwhelming. Changeling featured Angelina Jolie's best performance to date and an exciting narrative, but ran a bit too long for that story to be as pulsating and resonating as it should've been. Invictus featured a fine turn by Morgan Freeman, but was grounded in boredom and redundancy. His latest film, Hereafter, is another one of his films ladened with similar flaws, but still stands as a decent enough film.

The movie opens with an energetic sequence featuring  Marie, a French news reporter (in a strong performance by Cecil De France), trying to survive the 2004 Tsunami attack. She believes she got a taste of the afterlife, searching for answers from her own friends and colleagues that eventually leads her to Switzerland. Miles away, Matt Damon plays a factory worker with psychic abilities that only hinder his personal life. And in London, a young boy struggles to cope with the death of his twin brother who had recently been killed in an automobile accident. The three narratives can't seem to stand on their own without depending on one another, even though they don't collide until the last 10 minutes of the film. The problem with Eastwood's film his constant affirmation that this story is about death and grief (even the subtlest scenes have a taste of this notion)--it needs a little more room to breathe and flesh out characters where the theme isn't being pounded on them. The script contains too much contrived dialogue for it to not be noticed (evident in the awful trailer) and the acting is a mixed bag--George McLaren vastly underperforms as the young boy, as he delivers his line with either little or forced emotion, while Jay Mohr is simply miscast and lacks any depth. That said, De France, Damon, and Bryce Dallas Howard (in a strong supporting role) give rounded-out and emotional performances, while the film's cinematography is breathtaking. The special effects could use work (it looks as if Eastwood hired the Sims as his extras), but the film looks amazing and matches the somber yet hopeful tone. Hereafter still poses interesting questions regarding the afterlife, without inappropriately taking a bias stand that would become ludicrous. The direction, too, is graceful, making Hereafter a lowkey, tender film that certainly is imperfect but remains a good enough film to watch and ponder over.

Grade: B-

New York Film Festival 2010

  

Oh, oh, oh, it's magic: Mirren conjures up a storm in The Tempest

The Tempest--By far, this is one of the messiest films of the year. Julie Taymor, a gifted director when given the right material to work with, infuses her fantastical style into Shakespeare's last play that does no justice to the source material and only comes off as hyper-active exercise in overacting and bad special effects. Helen Mirren leads the cast as Prospera (the female version of the male protagonist; an interesting concept that's poorly executed), a sorceress who conjures up her own magic and lures people from her past to her island. The film is shot beautifully, as the cinematography gorgeously captures the Hawaiian landscape on screen. However, that's where the pleasures stop. The imagery looks as if it has come straight out of a Dali painting but sets no stable tone other than to cement the chaos ensuing. The performances range from mediocre to wooden (even Mirren seems to be working at only one layer of intensity), with miscasts and under-usage (is that you, David Strathairn?) abundant. The problem with the film is that it doesn't have a niche for Taymor's overflowing style--it just invades Shakespeare's story and makes it both unintentionally laughable and insufferably boring. It worked with "Titus" and "Frida", where the aesthetics were subservient to the narrative and played a much more subtle role while still creating a unique and beautiful atmosphere. But here, the main emphasis is on the acid-trip images as they parade the screen while, ironically, making the film lifeless--the characters and ideas are tossed around just to make the film look psychedelic. Let's hope Taymor tones it down next time.

Grade: D+

Mind if I sit here?: Manville as the destructive and fragile Mary.

Another Year--I guess the saying "As one door closes, another one opens" rings true, because a few nights later I saw the best film of 2010 (so far). Mike Leigh returns from a gleeful study of a chirpy woman to an emotional pastiche of characters in Another Year. The film tells the story of Tom and Gerri (ha-ha), an older British couple whose encounters with their troubled friends (Mary, played by Lesley Manville, for instance) are documented in hilarious and heartbreaking ways. It's funny--as low-key and subtle as this film is, it was immensely more vivacious than the kinetic film above. This was an absolute joy of a film--funny, sad, moving, and mature in exactly tangible and relatable ways. These are some of the deepest characters I've seen on film in quite a while. With all the credit and respect to Leigh's writing, they wouldn't be brought alive without the cast. Jim Broadbent and Ruth Sheen are endlessly endearing and sweet, as their tender performances anchor the film in a warmness that doesn't come across ever as maudlin or overly sentimental. Imelda Staunton has a memorable cameo and Oliver Maltman is very effective, but then there's Lesley Manville as the alcoholic and desperate Mary. In probably the best female role *and* performance of the year, Manville absolutely kills it. In a milli-second you can see the array of emotions her character feels. She's self-consciously funny, depressing, vibrant, and tense--it's a package of a performance that Manville flawlessly delivers. She flat-out deserves whichever Oscar category she campaigns for. Altogether, Another Year is such a treat of a film that only Mike Leigh could craft, and this is quite possibly his best--it's already the best film of the year, so what more could you ask for? Such an excellent film.

Grade: A

Something wild: Williams delivers just one of the strong performances in Reichardt's third film. 

Meek's Cutoff--Kelly Reichardt has made a name for herself in both the independent film world and as a director fascinated with American stories depicting nature's role in society. Her latest film, Meek's Cutoff, is her first period piece, as it's set during the rough times of the Oregon Trail as it chronicles the journey of three families out in the west. Reichardt's affinity for natural lighting and colors only helps display the rural Oregon countryside, as we witness the characters deal with daily hardships (getting the delicate wagons across rivers, coping with intense thirst, etc.) as they follow the overly confident Meek, played by Bruce Greenwood. The cast is excellent--Michelle Williams impresses in the lead role as the main voice of doubt in Meek's intentions and abilities, while Greenwood matches her with quirk and intensity as the questionable title character. Paul Dano, Zoe Kazan, and Shirley Henderson are quiet but effective in their supporting roles, but the most impressive asset is the film itself. Shot in tight 1.33:1 aspect ratio (basically a box-like screen), a corrosive claustrophobic and confining feeling is sensed as the film builds quiet tension throughout. Reichardt's direction is very Malick-ian as she captures the adversity of these doubtful passengers with beautiful imagery and darker, deeper meaning that lurks within. Meek's Cutoff is an unconventional take on the American dream, for it's one that haunts and stays in your head--even with its quiet nature, Reichardt's film is infectious. 

Grade: A-