Favorite/Best Films of the 21st Century So Far

After looking over the NY Times’s list of the 25 Best Films of the 21^st Century to date, I starting think about what films would be on my list. It is tough. On one hand you have all your favorite movies, some are more objectively good and some are certainly not; and on the other hand, you have films that are great but not necessarily films you seek out to watch. I decided on a compromise. These are the films that I think are the best – but with my biases/loves built in, let run wild. I also included my favorite documentaries at the end. Ranking all these films is impossible (I narrowed it down to 103; 13 documentaries and 90 features). So, this list is organized by year for the features, followed by documentaries and finally my personal 25 favorites.

2000

American Psycho, directed by Mary Harron

2001

Amelie, directed by Jean-Pierre Jeunet

Black Hawk Down, directed by Ridley Scott

The Lord of the Rings: The Fellowship of the Ring, directed by Peter Jackson

No Man’s Land, directed by Danis Tanovic

The Royal Tenenbaums, directed by Wes Anderson

2002

The Hours, directed by Stephen Daldry

The Lord of the Rings: The Two Towers, directed by Peter Jackson

The Pianist, directed by Roman Polanski

2003

The Barbarian Invasions, directed by Denys Arcand

The Lord of the Rings: The Return of the King, directed by Peter Jackson

Lost in Translation, directed by Sofia Coppola

Open Range, directed by Kevin Costner

2004

2046, directed by Kar Wai Wong

A Very Long Engagement, directed by Jean-Pierre Jeunet

Downfall, directed by Oliver Hirschbiegel

Harry Potter and the Prisoner of Azkaban, directed by Alfonso Cuaron

Hotel Rwanda, directed by Terry George

House of Flying Daggers, directed by Yimou Zhang

The Life of Aquatic with Steve Zissou, directed by Wes Anderson

Million Dollar Baby, directed by Clint Eastwood

Sideways, directed by Alexander Payne

Spider-Man 2, directed by Sam Raimi

Tae Guk Gi: The Brotherhood of War, directed by Je-gyu Kang

2005

Batman Begins, directed by Christopher Nolan

The Beat that My Heart Skipped, directed by Jacques Audiard

Munich, directed by Steven Spielberg

Pride & Prejudice, directed by Joe Wright

Serenity, directed by Joss Whedon

The Squid and the Whale, directed by Noah Baumbach

Sophie Scholl: The Final Days, directed by Marc Rothemund

2006

Black Book, directed by Paul Verhoeven

Children of Men, directed by Alfonso Cuaron

Mission: Impossible III, directed by J.J. Abrams

Once, directed by John Carney

Pirates of the Caribbean: Dead Man’s Chest, directed by Gore Verbinski

The Prestige, directed by Christopher Nolan

The Road to Guantanamo, directed by Michael Winterbottom

2007

The Assassination of Jesse James by the Coward Robert Ford, directed by Andrew Dominik

Atonement, directed by Joe Wright

The Darjeeling Limited, directed by Wes Anderson

Harry Potter and the Order of the Phoenix, directed by David Yates

No Country for Old Men, directed by the Coen Brothers

There Will Be Blood, directed by Paul Thomas Anderson

The Visitor, directed by Tom McCarthy

2008

The Curious Case of Benjamin Button, directed by David Fincher

The Dark Knight, directed by Christopher Nolan

Forgetting Sarah Marshall, directed by Nicholas Stoller

Hunger, directed by Steve McQueen

Revolutionary Road, directed by Sam Mendes

Vicky Cristina Barcelona, directed by Woody Allen

WALL-E, directed by Andrew Stanton

2009

Inglourious Basterds, directed by Quentin Tarantino

Up, directed by Pete Docter

2010

Harry Potter and the Deathly Hallows: Part 1, directed by David Yates

Inception, directed by Christopher Nolan

Never Let Me Go, directed by Mark Romanek

The Social Network, directed by David Fincher

True Grit, directed by the Coen Brothers

2011

The Girl with the Dragon Tattoo, directed by David Fincher

Harry Potter and the Deathly Hallows: Part 2, directed by David Yates

Incendies, directed by Denis Villeneuve

Jane Eyre, directed by Cary Joji Fukunaga

Super 8, directed by J.J. Abrams

2012

The Avengers, directed by Joss Whedon

The Dark Knight Rises, directed by Christopher Nolan

Life of Pi, directed by Ang Lee

The Master, directed by Paul Thomas Anderson

Zero Dark Thirty, directed by Kathryn Bigelow

2013

12 Years a Slave, directed by Steve McQueen

Her, directed by Spike Jonze

Short Term 12, directed by Destin Cretton

The Wolf of Wall Street, directed by Martin Scorcese

2014

The Babadook, directed by Jennifer Kent

Gone Girl, directed by David Fincher

The Grand Budapest Hotel, directed by Wes Anderson

The Imitation Game, directed by Morten Tyldum

Interstellar, directed by Christopher Nolan

2015

Avengers: Age of Ultron, directed by Joss Whedon

Bridge of Spies, directed by Steven Spielberg

Brooklyn, directed by John Crowley

Carol, directed by Todd Haynes

Inside Out, directed by Peter Docter & Ronaldo Del Carmen

The Revenant, directed by Alejandro Gonzalez Inarritu

Sicario, directed by Denis Villeneuve

2016

Arrival, directed by Denis Villeneuve

Hacksaw Ridge, directed by Mel Gibson

Hunt for the Wilderpeople, directed by Taika Waititi

Manchester by the Sea, directed by Kenneth Lonergan

Silence, directed by Martin Scorsese

Documentaries

The Fog of War: Eleven Lessons front the Life of Robert S. McNamara, directed by Errol Morris

Super Size Me, directed by Morgan Spurlock

Enron: The Smartest Guys in the Room, directed by Alex Gibney

Why We Fight, directed by Eugene Jarecki

Man on Wire, directed by James Marsh

Inside Job, directed by Charles Ferguson

Magic & BirdL A Courtship of Rivals, directed by Ezra Edelman

The House I Live In, directed by Eugene Jarecki

The Imposter, directed by Bart Layton

Citizenfour, directed by Laura Poitras

13^th, directed by Ava DuVernay

O.J.: Made in America, directed by Ezra Edelman

Five Came Back, directed by Laurent Bouzereau

My Personal Favorite 25

The Dark Knight Trilogy

Lost in Translation

Inception

Inglourious Basterds

Harry Potter and the Deathly Hallows (the whole saga really)

Pride & Prejudice

Amelie

Spider-Man 2

Interstellar

The Prestige

Serenity

The Girl with the Dragon Tattoo

No Country for Old Men

The Lord of the Rings

Hunger

Zero Dark Thirty

Vicky Cristina Barcelona

The Darjeeling Limited

Atonement

The Royal Tenenbaums

There Will Be Blood

American Psycho

Gone Girl

The Life Aquatic with Steve Zissou

My Personal Favorite 25 (Redux)

Within the NY Times rules of One Film per Director

The Dark Knight

Lost in Translation

Inglourious Basterds

Harry Potter and the Deathly Hallows: Part 2

Pride & Prejudice

Amelie

Spider-Man 2

The Curious Case of Benjamin Button

Harry Potter and the Prisoner of Azkaban

Serenity

No Country for Old Men

Hunger

Zero Dark Thirty

Vicky Cristina Barcelona

The Darjeeling Limited

There Will Be Blood

American Psycho

The Lord of the Rings: The Return of the King

Forgetting Sarah Marshall

The Assassination of Jesse James by the Coward Robert Ford

Life of Pi

The Hunt for the Wilderpeople

Arrival

Downfall

Her

Movies Spotlight – Upcoming 2015 Films (Fall & Winter) – July 2015

Now that summer is winding down, let’s look at all the great films scheduled to be released this fall and winter – and there are a lot. I think 2015 will be remembered for its prestige films, looking back, even though, so far, it has been a year of blockbusters like Avengers: Age of Ultron, Jurassic World and Inside Out.

September

Starting with September, Gavin O’Connor’s new western is finally coming to theaters (after a very troubled production, including losing directors and multiple actors). The film stars Natalie Portman and Ewan McGregor and is about a woman who asks her ex-lover to help her save her outlaw husband from a lethal gang out to kill him. I’m looking forward to the film for a few reasons: I love westerns, it will be nice to see Portman is films again, and O’Connor’s last film was the excellent sports-drama Warrior.

Director Scott Cooper is known for his character driven dramas (Crazy Heart and Out of the Furnace). His new film, Black Mass, takes on the notorious South Boston criminal Whitey Bulger (an infamously violent man who became an FBI informant to stop the mob from infiltrating his territory). Cooper has assembled a fantastic cast, including: Johnny Depp (as Whitey Bulger), Dakota Johnson, Benedict Cumberbatch, Joel Edgerton, and Corey Stoll. Here is the trailer.

The film I’m most looking forward to in September is Denis Villeneuve’s Sicario, a mystery crime-drama starring Emily Blunt, Benicio Del Toro and Josh Brolin. It debuted at Cannes to critical acclaim and lots of positive buzz. Sicario looks like a brilliant, exciting and raw thriller. Here is the trailer.

A potentially fun comedy in September is Nancy Meyers’s The Intern. It is about a 70-year-old widower who is bored in retirement and looks to get back to work, joining an online fashion site as an intern. The film stars Robert De Niro as the Intern and Anne Hathaway as his boss (and founder of the company). Here is the trailer.

Closing out the month is Baltasar Kormakur’s action thriller Everest. The film looks intense and Kormakur has put together a strong cast, including: Jason Clarke, Jake Gyllenhaal, KeiraKnightley, Robin Wright, and John Hawkes. While Kormakur is known for making action films (like Contraband and 2 Guns), the great cast should bring a dramatic, character-driven dynamic to this thriller. Here is the trailer.

October

September features some potentially very good films, October has even better films, starting with Ridley Scott’s The Martian. Scott excels at creating epic and visually astounding space-set narratives and sci-fi imagery. The Martian tells the story of astronaut Mark Watney, who is abandoned on Mars after his crew believes him killed in a massive storm that pushed them off the planet. Now, Mark has to use his intellect and practical know-how to survive, while his crew races back to save him. The film sounds a little like Interstellar, and Matt Damon again plays the man left for dead alone on an alien planet, but thematically the films are completely different. In addition to Damon, Jessica Chastain, Chiwetel Ejiofor, Jeff Daniels, and Kate Mara also star. It’s among the five films I’m most looking forward to seeing. Here is the trailer.

Another film I cannot wait to see is Justin Kurzel’s William Shakespeare adaptation Macbeth, especially after playing well at Cannes. Kurzel’s film looks aesthetically phenomenal and boasts a super cast, including: Michael Fassbender (as Macbeth), Marion Cotilard (as Lady Macbeth), David Thewlis, Elizabeth Debicki, and Sean Harris. The play (and film) are about Macbeth, a duke of Scotland, who receives a prophecy that he will one day be King. Consumed by this ambition, he murders the King and takes the throne for himself. Here is the trailer.

I really like the work of British director Joe Wright. He helms a new version of the Peter Pan story, a prequel of sorts called Pan. On one hand, it looks great with astounding aesthetics and a strong cast, but on the other hand I'm a little worried that it might be too much of a kid's movie (something that has plagued many past Peter Pan films). I'm willing to give it a chance. Here is the trailer.

A film that I cannot quite pin down is Robert Zemeckis’s The Walk, which tells the story of Philippe Petit’s high-wire walk from the roof of one World Trade Center Twin Tower to the other. It is an incredible story, but it is already told wonderfully in James Marsh’s documentary Man on Wire. Zemeckis is a great filmmaker (Back to the Future, Cast Away, and recently Flight), but his film does not feel right thematically and how can he top Man on Wire? His film stars Joseph Gordon-Levitt, Ben Kingsley, and Charlotte Le Bon. Here is the trailer.

Yet another highly anticipated film to be released in October is Danny Boyle’s Steve Jobs. The film went through directors and lead actors on the road to settling on Boyle and Michael Fassbender (although, I still would have liked to have seen the DavidFincher-Christian Bale iteration). The film is written by Aaron Sorkin and also stars Kate Winslet, Seth Rogen, and Katherine Waterston. It looks like an interesting biopic of one of the great innovators of our time. Here is the trailer.

Netflix made a play to get into the filmmaking business when it acquired the rights to Beasts of No Nation, which it will debut October 16^th. The film is written and directed by Cary Joji Fukunaga (who also directed the first season of True Detective) and stars Idris Elba. It’s about child soldiers fighting in an unnamed African nation’s civil war. As a big fan of Fukunaga’s work and Elba, I’m very much looking forward to this. Could Nexflix get an Oscar nomination?

Horror has always been a passion of writer-director Guillermo del Toro. His new film, Crimson Peak, looks like his version of the classic haunted house horror narrative. Aesthetically, it looks wonderfully gothic. It also features a top cast, including: Mia Wasikowska, Tom Hiddleston, Jessica Chastain, and Charlie Hunnam. Here is the trailer.

Steven Spielberg and Tom Hanks have had one of the most fruitful partnerships in Hollywood, from films to producing excellent television (I’m specifically thinking of Band of Brothers). Their latest endeavor with Spielberg behind the camera and Hanks starring is the cold-war thriller Bridge of Spies. It’s about the man who negotiated an exchange of prisoners under extreme political pressures (with all-out nuclear war always looming). Here is the trailer.

November

Daniel Craig has enjoined his time as James Bond, starring in some of the best films of the series. Returning once again, along with director Sam Mendes, Craig next 007 adventure is called Spectre, where he will seek out the criminal organization behind the events that Bond faced in Casino Royale and Quantum of Solace. Most of Skyfall’s cast is returning (M, Q and Moneypenny) and joining the cast are Christoph Waltz, Lea Seydoux, Dave Bautista, Monica Bellucci, and Andrew Scott. It looks like another great Bond film. Here is the trailer.

Brooklyn was one of the Sundance Film Festival’s most buzzed about films, coming out of the festival as a potential Oscar favorite. The film is directed by John Crowley, written by Nick Hornby, and stars Saoirse Ronan, Emory Cohen and Domhnall Gleeson. It’s about a young Irish woman who leaves Ireland in the 1950s to come to New York, but she finds herself torn between the two places and two men, the man she has fallen for in Brooklyn and the man she loves when she returns to Ireland. Here is the trailer.

For many, November’s most anticipated film is The Hunger Games: Mockingjay – Part 2, the closing chapter of the saga. I’m particularly looking forward to the film because it will be interesting to finally see Katniss make tough decisions (presumably) and actually be involved in the action, as District 13 engages in all-out revolution against the Capital. Jennifer Lawrence is excellent as Katniss; Francis Lawrence returns behind the camera. Here is the trailer.

I really liked the Joseph Gordon-Levitt, Seth Rogen, Evan Goldberg, and Jonathan Levine collaboration 50/50. There are back with a new film called X-Mas. It’s about three friends who annually travel to New York City on Christmas Eve to get drunk and otherwise have fun. This year their tradition might be coming to an end, so they embark on a mission to find the biggest and best party. Joining Gordon-Levitt and Rogen in the cast are Lizzy Caplan and Anthony Mackie.

Pixar and Disney released one of their better recent films this summer with Inside Out. They have another film coming in November called The Good Dinosaur that sounds just as good. The logline of the film asks: What if the meteor that killed-off the Dinosaurs never hit the Earth, leading to a world in which humans and dinosaurs co-exist? Peter Sohn is heading up the creative team (directing his first feature, though he did make the great short Partly Cloudy which played in front of Up). Here is the trailer.

A film that sounds awesome but has so far flown under the radar is the new sci-fi drama from writer-director Jeff Nicholas called Midnight Special. It’s about a father and son who go on the run after the dad learns that his son has developed special powers. It stars Michael Shannon, Kirsten Dunst, Adam Driver, Joel Edgerton, and Sam Shepard. Nicholas also made the very good dramas Take Shelter and Mud.

Eddie Redmayne, who won the 2015 Best Actor Oscar for The Theory of Everything, is back again with what sounds like another Oscar-worthy performance. This time in Tom Hooper’s new film The Danish Girl, where he plays Einar Wegener, the husband of famous Danish artist Gerda Wegener who painted him as a woman. As the painting gained popularity, Einar began to change his appearance, dressing and associating more as a lady, which he named Lili Elbe. With the support of his wife, he attempted the first ever male to female sex reassignment surgery. The film also stars Alicia Vikander (who’s blowing up this year) and Matthias Schoenaerts. The film is likely an Oscar favorite.

December

And finally we get to December. To kick us off, here’s In the Heart of the Sea, a film scheduled to be released in the Spring but scored such outstanding reviews in its test screenings that Warner Bros. pushed it all the back to awards season to compete for Oscars. It’s directed by Ron Howard and stars Chris Hemsworth, Cillian Murphy, Brendan Gleeson, Benjamin Walker, and (your new Spider-Man) Tom Holland. The film’s about Thomas Nickerson, the ship captain that encountered the famous white whale Moby Dick, inspiring Herman Melville’s novel. Here is the trailer.

One of the best reviewed films at this year’s Cannes Film Festival was Carol, a romantic drama set during the 1950s in America. It’s about two women who fall in love and dream of a different world in which they could be together. It’s directed by dramatic filmmaking master Todd Haynes and stars Cate Blanchett and Rooney Mara (who won Best Actress at Cannes).

The biggest and hopefully greatest blockbuster of the winter season is Star Wars: Episode VII – The Force Awakens. I cannot wait to see it. J.J. Abrams seems like a god choice to take over the creative reigns for the franchise. The film will mix characters we know (Luke, Leia, and Han Solo) with new characters, continuing the saga. The cast sees many of the original actors returning (Mark Hamill, Carrie Fisher and Harrison Ford) and a mix of great new actors, including: Oscar Issac, Daisy Ridley, John Boyega, Adam Driver, and Gwendoline Christie. Here is the trailer.

It sure seems like Olive Stone’s best films are behind him. That said, he is back with a new politically charged biopic Snowden. It’s about Edward Snowden, the man who basically destroyed his own life to inform the American people what the government was doing (i.e. spying on them). The film stars Joseph Gordon-Levitt, Shailene Woodley, Zachary Quinto, Melissa Leo, and Tom Wilkinson. Let’s hope Stone finds his form again, as this is an important story that people need to hear/see. Here is the trailer.

Another very fruitful partnership between director and actor has been between David O. Russell and Jennifer Lawrence (and Bradley Cooper), they have made Silver Linings Playbook and American Hustle together. Their new film is Joy. It’s about inventor and entrepreneur Joy Mangano, creator of the Miracle Mop and many other products.  The film seems like an Oscar favorite, with a great cast (in addition to Lawrence), including: Bradley Cooper and Robert De Niro.

The film that I predicted would be the 2016 Academy Awards frontrunner for Best Picture is The Revenant. It’s the new adventure/western/drama from Alejandro G. Inarritu (who directed Birdman, last year’s winner). It stars Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, and Will Poulter. It’s about Hugh Glass, a frontiersman who is left for dead after he is severely injured in the wilderness by compatriot John Fitzgerald. Somehow he survives, regaining his strength, and sets out on a mission of vengeance against Fitzgerald.

2015 might be the year we finally see the resurgence of the western (with Slow West, Jane Got a Gun, and The Revenant); its most high profile entry is Quentin Tarantino’s new film The Hateful Eight, a post-Civil War narrative that sees a group of bounty hunters who find shelter from a blizzard only to get pulled into a plot of betrayal and deception. Tarantino has a great mix of actors with Samuel L. Jackson, Kurt Russell, Walton Goggins, Jennifer Jason Leigh, and Bruce Dern (among others).

Other Potential Releases

These two films don’t have firm release dates yet, but could very likely come out in 2015 and compete for awards. First is Derek Cianfrance’s new drama The Light Between Oceans, which stars Michael Fassbender, Alicia Vikander and Rachel Weisz. It’s about husband and wife lighthouse keepers who find a baby the washes ashore in Western Australia. The second is Lenny Abrahamson’s new drama Room about a boy who is raised exclusively with the small confines of a small shed. It stars Brie Larson, William H. Macy and Joan Allen.

Anna Karenina (2012) – Review

Review: Anna Karenina is highly ambitious, lush and phenomenal – a completely insane adaptation of a literary masterpiece. The film is about Anna, a Russian aristocrat in the late 19^th century who throws away everything to engage in an affair with Count Vronsky.

Most literary adaptations are fairly straightforward – some rigorously follow their source material, while others take liberties. With Anna Karenina, Leo Tolstoy’s novel is immensely dense with rich detail and tons of characters. It is not just about Anna and her story; it is about Tolstoy’s Russia at that time and place, every nuance and intricate facet of daily life. Deciding that trying to make a completely faithful adaptation of such an extensive work would probably lead to a dull film (and still not quite do it justice). Instead, director Joe Wright has made something entirely different and brave.

Anna Karenina seems a prime candidate to be just a straightforward period drama/costume drama (and Wright has done well making films like that in the past), but his adaptation is dangerously ambitious (much like say The Clash’s Sandinista! or the Wachowskis and Tom Tykwer’s Cloud Atlas from earlier this year) and highly stylized. Taking such a bold risk leaves the film exposed to be very polarizing (something some will find brilliant and others very frustrating). Fans of the book that want a very faithful adaptation (who seem to fail to understand that film is a different medium than that of a novel and thus stories should be told in different ways) will likely not like the film.

Wright sets the film really in two areas – for Moscow and St. Petersburg, the scenes take place inside a theatre with actors moving between changing sets, backdrops and artifices. Characters play their roles within society and government, as scripted by the social conventions of the time. While all the time, in view of an audience (the other members of the society) constantly watching their every move. Everything is a tempered act put on for the benefit of others. The poorer people of the cities occupy the rigging and catwalks, while the grand ballrooms and government halls take center stage. The theatre is used as a metaphor by Wright to express the restraint and superficiality of Anna’s world – nothing is real. Wright’s camera is also an active part of these scenes, vigorously gliding through the sets and around characters (almost in a whirlwind). At first, this whole concept is strange and even unsettling, but as the film progresses and the audience becomes accustom to the world of the film it becomes common and not as noticeable (making the final shot of the film more staggering – almost as if the audience has forgotten that all the action in the cities has been confined to a theatre with nothing but fake backdrops).

The second area that Wright uses is a much more naturalistic space, which accompanies Levin when he returns to his country home and works in his fields (they are actual fields). Wright does this to both juxtapose the differences in city and country life and to illustrate the difference between Levin (a romantic) and those wrapped up in the high society life of the cities (where everything seems just a show put on, void of deeper emotion). Visually, Wright makes sure to give the countryside a very sweeping natural beauty (as opposed to the subterfuge of the changing theatre sets).

Wright’s film is also very much about love. He focuses on two stories: Anna’s affair with Vronsky and Levin’s love of Kitty. Anna begins the film naïve to love. She is happy because she does not really know what it is, that is until she meets Vronsky and feels something so strongly that she risks her place in society (a society completely constructed and ruled by men) to be with him, seemingly to forget or not care that she is but a player on the stage, and that everyone is watching her. Vronsky is very charming, but never feels completely trustworthy as a hero (someone that will not break Anna’s heart, like say Levin is to Kitty). This feeling that the audience has translates to Anna’s perception of Vronsky as well. She never completely trusts him, which sends her into fits of jealousy and self-destructive behavior, and yet she loves him above all else leading to her losing everything to be with him. In the construct of Wright’s narrative (the cities being staged in a theatre), Anna goes off book. She does not say the lines she is given and hit the marks laid out for her. She disrupts the order of things and thus stands out amongst the others and becomes an outcast. There are scenes as well with her husband Karenin who seems out of step in his own realm (in the government meetings) when he faces the truth about Anna’s affair. Wright’s narrative and visual structure for the film visually illustrates just how disruptive Anna is in such a rigid society of social rules.

Levin seems lost in the society in the city, constantly calling on Oblonsky (Anna’s brother, a man who constantly cheats on his wife and yet is still accepted among his peers) for help to fit in. His love is Kitty, a young woman just debuting in society. Kitty is fascinated and lured in by the colors and spectacle of it all. She does not see that it is all superficial, and rejects Levin initially. But, she comes to see the flaws of her beloved high society and is hurt and jaded by the lack of true emotional connection. Thus, when Levin realizes that she is his true love and tries to win her heart a second time, she accepts. When Kitty moves with Levin away from the fixed structure of the city and into the naturalism of the country, she throws off the strict terms that governed her conduct, allowing her true self to shine (a person with a kind heart). While Anna and Vronsky’s story ends in tragedy, condemned by the aristocracy, Levin and Kitty strive. This again can be taken as juxtaposition between the intransigent and shallow society of the city and the warmth and community of the country (also expressed by Levin working the fields with his serfs).

Visually, the film feels a bit frantic, as Wright’s camera is constantly moving at a brisk pace and the sets are constantly changing on the fly as characters move between spaces. However, the end result of all this kinetic energy is that Wright has formulated the film as an emotional ballet (of visual splendor). The production design also plays into this, as the colors and costumes very much represent the characters. Anna, in particular, has an array of beautiful outfits – their color scheme seemingly matching her mood, while Vronsky is primarily in white (saving her from a life without love) until he leaves her. Levin wears earthy tones and Kitty loses her refined garments once she takes on her life in the country. All of Wright’s visual choices support the narrative.

Now, with all this visual radiance and spectacle and Wright’s imposed narrative device, what about the characters? This film is not easy on the audience. First, they must adjust to Wright’s cinematic world (which takes a few scenes, because he does not ease the viewer into it – everything flies at the viewer all at once). Then, the audience is introduced to tons of characters, many of which play small but specific roles. However, Wrights does do a great job with his main characters, though at the same time Anna’s motivations may seem not spelled out enough for some viewers. She lives in a marriage somewhat void of real affection, attraction and love. Thus, when Vronsky (who also happens to be very handsome) courts her, she is taken in by him and feels things that she never has before, which drives her decisions. While the audience pities her, as she loses everything, she is not overly likable (like Kitty or Levin), which then makes it more difficult for the audience to strongly connect with her (which is why Wright gives a lot of screen time to Levin and Kitty as well). She is just someone who thinks she is above the rules and ultimately pays a heavy price.

Anna Karenina is a classic tragedy, adapted many times over, but maybe never as ambitiously and visually stimulatingly as this.

Technical, aesthetic & acting achievements: Joe Wright has always had a knack for using a very fluid camera, from the dancing/party scenes in Pride & Prejudice to the action scenes in Hanna, as well as his fantastic long takes in his films (notably in Atonement). In Anna Karenina, Wrights seems to have built off his work in Hanna (which was his most visually aggressive film before this). Much like the final scene in Black Swan in which the camera seems to dance with Nina, his camera here seems completely untethered, free to roam anywhere and everywhere, seamlessly transitioning between sets as characters move in and out and backdrops change. It is breathtaking. While most filmmaking, especially in Hollywood (but it is also true among indie films), seems to be becoming more conventional, it is relieving to see an auteur who is still willing to take big risks, and with this film they have paid off.

Dario Marianelli’s score has a wonderful Russian vibe to it (as it probably should). It is beautiful, as it anticipates and accompanies the emotional turmoil and triumphs of the characters. It feels both intimate and extravagant in different moments, much like the film itself (here is a suite). Seamus McGarvey’s cinematography is exquisite, elegant and magnificent, especially when the film takes on a more naturalistic look (where the use of light is angelic). Sarah Greenwood’s production design, however, steals the show (which is saying a lot as Marianelli and McGarvey both deliver some of the year’s best work). The array of colors is astounding. Each costume (designer by Jacqueline Durran) or set is wonderfully crafted to fit the tone of each character or scene (reminding me at times of David Lean’s Doctor Zhivago).

The cast is dazzling as well, with tons of great little bit parts and strong leads. Matthew Macfayden and Ruth Wilson (who is almost unrecognizable, at least she was for me – knowing her solely as the scene stealing Alice on Luther) stand out in small roles. Both Domhnall Gleeson and Alicia Vikander deliver breakthrough performances as Levin and Kitty, respectively. While most of the characters seem to be shallow and void of deeper emotion, Gleeson and Vikander exude a longing for true connection (which is why, ultimately they find each other). I expect they will both be receiving lots of acting gigs in the next few years. Jude Law has the difficult role of playing Karenin, a man who feels but actively tries to shut himself off from his emotions. His performance is understated and wonderful. Aaron Taylor-Johnson has all the charisma and bluster to make a great Vronsky. He also has a terrific mischievousness to his performance that work very well. Keira Knightley has found her niche in costume dramas. She is ravishing, magnificently gowned in a lush and elegant wardrobe throughout. But she does more than just look the part. Knightley captures the extreme fits of anguish and joyous highs of Anna’s affair with Vronsky, eliciting pity and in the end even heartbreak among the audience as Anna’s life comes to a tragic end. It is another excellent performance from her collaborating with Wright.

Summary & score: Anna Karenina is not going to work for everyone, as it is sure to garner opposing reactions among viewers. However, for those willing to take it in, it is an artistically rewarding and narratively grand experience. 8/10 

At the Movies – November 2012 – Part 3: Most Anticipated Films

Must-See of the Month:

Skyfall (Sam Mendes) – Action Thriller – Nov 9

Summary: James Bond is back. M’s past comes back to haunt her, testing 007’s loyalty. Now, he must track down and end the threat, no matter the cost. Filmmakers: British auteur Sam Mendes may at first seem like an odd choice to do a Bond film, being that he has never made an action film; but exploring his filmography closer, it is clear that he is a wonderful director (which trumps genre experience) and will make a great film with strong characters and good performances. He is working with a great group as well, including: screenwriter John Logan (nominated for three writing Oscars, and just signed on to write the next two Bond films), composer Thomas Newman (who has scored three previous Mendes films, including great work on American Beauty), cinematographer Roger Deakins (one of the absolute best working D.P.s today), and production designer Dennis Gassner (worked twice with Mendes before, and designer Quantum of Solace). Cast: Daniel Craig is back for his third film (of reportedly five), and is joined by a fantastic supporting group with Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Berenice Marlohe, Albert Finney, Ben Whishaw, Rory Kinnear, and Helen McCrory. Expectations: Craig’s first two Bond films had almost opposite reactions. Casino Royale was a critical and commercial success making James Bond a viable brand again (easily being the best Bond film since GoldenEye, and I might argue since Goldfinger), while Quantum of Solace came with a ton of expectation after Casino but was a big disappointment. Thus, when Skyfall was announced, I like most was not overly enthusiastic (but not dismissive either). Then, Mendes was hired to direct, and my interest perked up. Then, Bardem and Fiennes joined the cast, and I have been very excited to see this ever since (it is currently second of the list of films I am most looking forward to in 2012, behind The Hobbit). Having premiered in the U.K. already, the film is playing to universal critical acclaim, completely rejuvenating the franchise again. It quite possibly could be the best Bong film yet (it looks aesthetically brilliant from what I have seen as well). Trailer: Here. Review: Here.

Worth Checking Out:

Lincoln (Steven Spielberg) – Biography/History Drama – Nov 9

Summary: As the Civil War continues to ravage and further divide the country, President Abraham Lincoln struggles with the toll it is taking on the people while also fighting to emancipate the slaves in the face of detractors even within his own cabinet. Filmmakers: Director Steven Spielberg might be the perfect auteur to take on the biography of Lincoln, and the story seems to lend itself to his particular brand of nostalgia, dramatic weight and genuine heroism without cynicism (see his films Schindler’s List and Saving Private Ryan). Spielberg is working with his ‘A-team’ on the film including composer John Williams (Star Wars), cinematographer Janusz Kaminski (Munich) and production designer Rick Carter (Jurassic Park). Cast: This is one of 2012’s greatest ensembles. Daniel Day-Lewis stars (Liam Neeson was originally attached) with an incredible supporting cast, including: Joseph Gordon-Levitt, John Hawkes, Walton Goggins, Tommy Lee Jones, Jackie Earle Haley, Michael Stuhlbarg, Sally Field, James Spader, Jared Harris, Lee Pace, David Strathairn, Bruce McGill, David Oyelowo, Hal Holbrook, Tim Blake Nelson and David Costabile (Gale from Breaking Bad). Expectations:  On paper, Lincoln should rack up Oscar nominations (with Day-Lewis and Lee Jones being favorites in the leading and supporting male categories, respectively). It screened already for critics, and was met with praise. Spielberg is known best for two kinds of films – his entertaining adventure blockbusters and his (almost epic in scope and scale) powerful dramas; this should be among his best in the latter (continuing his fascination with the unfortunate plight of African-Americans in American History, following The Color Purple and Amistad). On a side note, getting back to my ongoing fascination with how there always seem to be two films related to a specific ‘it’ topic to come out in a certain year, in 2012 we have two Lincoln films that could not be more different. This is a completely serious biopic/drama while Abraham Lincoln: Vampire Hunter is a ridiculous throwaway horror action film. Trailer: Here. Review: Here.

Anna Karenina (Joe Wright) – Romance Drama – Nov 16

Summary: An adaptation of Leo Tolstoy’s classic novel – Anna Karenina is trapped in a loveless marriage to a Russian aristocrat. She risks everything entering into an affair with a man she truly loves, Count Vronsky. Filmmakers: Director Joe Wright is perfectly fitted to adapt Tolstoy’s masterpiece (having made two fantastic romance dramas and three great films in his first four). He is working with his frequent collaborators composer Dario Marianelli (scoring three previous Wright films), cinematographer Seamus McGarvey (shooting two previous Wright films) and production designer Sarah Greenwood (designing all previous Wright films). As a crew that works together a lot, they are one of the best working right now. Tom Stoppard wrote the script (he also wrote Brazil, Empire of the Sun and Shakespeare in Love). Cast: The cast is great. Keira Knightley stars with a wonderful supporting group, including: Aaron Taylor-Johnson, Kelly Macdonald, Jude Law, Matthew Macfadyen, Emily Watson, Michelle Dockery (who some will know from Downton Abbey), Olivia Williams, Holliday Grainger, Shirley Henderson, Ruth Wilson (who is brilliant in Luther), and Domhnall Gleeson. Expectations: Anna Karenina is the third collaboration between Wright and Knightley. Their first two were both superb: Pride & Prejudice and Atonement (two of my favorite films). Wright is also coming off 2011’s cool action thriller Hanna. The film seems like a perfect third partnership between Wright and Knightley (forth, if you count this Chanel commercial). Plus, Wright has gone very ambitious with the visual and narrative style, presenting it like a stage production. It looks very impressive. Trailer: Here. Review: Here.

Silver Linings Playbook (David O. Russell) – Drama – Nov 23

Summary: Pat Solitano, a former teacher, just got out of a mental institution, serving a short stint. Having moved back in with his parents, he looks to reconcile with his ex-wife and get his life back on track. However, things get more complicated when he meets Tiffany, a mysterious girl who also has mental problems. Filmmakers: Writer-director David O. Russell has another film ripe with critical acclaim following The Fighter. He has a knack of getting the best from his actors. He is working with a great group with composer Danny Elfman (Dark Shadows), cinematographer Masanobu Takayanagi (Warrior) and production designer Judy Becker (Shame). Cast: Bradley Cooper and Jennifer Lawrence star with Robert De Niro, Julia Stiles, Chris Tucker (good to see him back in something), Shea Whigham, Dash Mihok, Jacki Weaver, and John Ortiz in support. Expectations: Silver Linings Playbook is prominently in the conversation for Best Picture and Jennifer Lawrence is the front runner for Best Actress (right now). The film looks like a very good drama with some comedic moments – built on great performances from both the leads and principal supporting players. Trailer: Here. Review: Here.

Killing Them Softly (Andrew Dominik) – Crime Drama/Thriller – Nov 30

Summary: A mob-protected poker game is robbed. Jackie Cogan, a professional enforcer, is brought in to investigate on behalf of the mob. Filmmakers: Writer-director Andrew Dominik became one of the most exciting new filmmakers (at least for me) after the release of his brilliant film The Assassination of Jesse James by the Coward Robert Ford. Killing Them Softly is his follow-up (and third feature overall). Dominik is working again with production designer Patricia Norris, but with cinematographer Greig Fraser (Let Me In) for the first time. Cast: Brad Pitt stars (and is also producing), while Scoot McNairy, Ben Mendelsohn (who is great in Animal Kingdom), James Gandolfini, Vincent Curatola, Ray Liotta, Sam Shepard, Garret Dillahunt, Richard Jenkins, Slaine, and Bella Heathcote feature in support. Expectations: Killing Them Softly looks like a great stylized crime drama (reminding me a bit of a Coen Brothers’ film). It has a fantastic cast, and Brad Pitt has been in top form lately (especially in Dominik’s last film). This is a must see for fans of budding potential auteur directors and good crime dramas. I think it is going to be very good indeed. Trailer: Here. Review: Here.

LeapBackBlog 2011 Film Awards – Part 3: Directors

Film in 2011 saw many very good films. Deciding what made the lists and what did not was very difficult this year, and there are more than a few great films, performances and technical achievements that I had to leave off. The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done, and 2011 again features a lot of amazing breakthrough performances), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 4: Leading Performances

Part 5: Films

Directors:

J.J. Abrams – Super 8

J.J. Abrams had a difficult job going into Super 8 – making a Steven Spielberg style film with child actors (and not have it suck or be a lesser experience to say E.T.). Super 8 is brilliant. Abrams gets phenomenal performances from his young actors, keeps the action coming but still has important character moments and captures the perfect nostalgic tone and look for the film. It is a masterful job of directing, as Abrams further makes an argument for himself as an action auteur.

Terrence Malick – The Tree of Life

Terrence Malick seemingly is not interested in telling a story using a Hollywood style narrative, rather he is much more concerned with what the images and motifs in his films garner meaning wise in their viewers. Much like Sergei Eisenstein, Malick juxtaposes images to instill emotion and meaning. The Tree of Life seems to be his greatest departure from conventional narrative style. There is still a story and characters, but the meaning comes from the visual and audio experience. And with this film, Malick has created something quite powerful and to a degree spiritually engaging.

Lars von Trier – Melancholia

Aesthetically speaking, Lars von Trier’s Melancholia is a masterpiece of visual art. The film is striking – from the slow-motion living painting shots to the majesty of the alien planet approaching Earth. von Trier also achieves marvelous performances from his actors (especially Kirsten Dunst and Charlotte Gainsbourg). Thematically, Trier has produced an intellectually and spiritually intriguing film that warrants multiple viewings (which is always a great compliment for a film). More than any film in 2011, Melancholia is a cinematic experience.

Joe Wright – Hanna

Hanna is also a wonderfully artistic film – especially for what is an action film akin to a Jason Bourne and/or James Bond movie. Joe Wright and his crew have exploited every aspect of the film to create interesting aesthetics. But, Wright succeeds in getting a difficult and fully formed performance from his young lead Saoirse Ronan, as well. The film is very engaging both from an artistic and narrative perspective (as the best films should be). Something that stands out in Wrights work, Hanna being no different, is his use of long takes, and this film has a couple amazing ones (Erik’s fight in the Subway, and the Container Park scene).

David Yates – Harry Potter and the Deathly Hallows: Part 2

Deathly Hallows: Part 2 had a ton of expectation and anticipation and David Yates delivered a completely satisfying film. He faced the daunting task of getting everything important in, giving each character his moments and still keeping the pacing ever moving forward (which is the downfall of many a film, not just epics). And to this degree, Yates does a brilliant job. He gets everything right. His work on the franchise has been wonderful throughout, but this is his best film. Yates does it all – garnering great performances, enchanting aesthetics and a narrative that resonates.