Movie of the Week – Revolutionary Road

This week’s movie: Revolutionary Road (2008).

Frank and April Wheeler have the life they thought they always wanted – a beautiful family, a nice suburban home, and a good job in the city. But each feels lost, the abyss of mundane life has swallowed them up. They desperately need a change. This story takes place in 1950s Connecticut.

Director Sam Mendes made what is probably his best film to date with Revolutionary Road. It is a scouring look at the myth of the 1950s’ ideal American family. Mendes is one of the great directors working today to come out of theatre – his other notably films include: American Beauty, Road to Perdition, and Skyfall. Mendes worked with a brilliant group of technicians on the film. Thomas Newman provides a strong score, while Roger Deakins delivers his patented wonderful photography (both are frequent collaborators of Mendes). Kristi Zea’s production designer is good as well.

The film stars Kate Winslet (who was Mendes’s wife at the time) and Leonardo DiCaprio each giving one of their career best performances. The film marks their on-screen reunion following Titanic. David Harbour, Kathy Bates, Kathryn Hahn, Zoe Kazan, Dylan Baker, and Michael Shannon (who is also electric) feature in support. Revolutionary Road is quietly one of the best acted films of the last decade, and yet only saw one Oscar nomination for acting (for Shannon, who lost to Heath Ledger in The Dark Knight, who gave maybe the best performance of the decade; meanwhile Winslet was nominated and won that year for The Reader, but I would argue that she is even better in this).

Revolutionary Road is emotionally draining and deeply affecting, but it is also a must-see for fans of brilliantly directed and acted dramas.

Trailer: Here

Available on: Blu-ray and Video On-Demand

Man of Steel (2013) – Review

Review: Man of Steel is a massive action/adventure film that is tonally much more serious than most superhero fare. The film is about Kal-El (Clark Kent), an alien being who struggles to find his place on Earth (deciding how to use his remarkable gifts). He is torn between two worlds. He has spent his entire life on Earth, growing from a baby into adulthood, but his alien abilities make him a god among men. Should he show his true self and potentially be hated and feared for his differences and power or should he stay hidden, keeping to the fringes? That is his choice. However, he is forced to reveal himself to mankind, to protect them, when warriors from his destroyed home world come to Earth seeking revenge for what his father did years ago (a man they consider a traitor).

From the opening scene of Man of Steel it is clear that director Zack Snyder has a grand vision for Kal-El and the world in which he inhabits. Snyder wants the film to feel epic, and thus kicks it off with the humongous battle for Krypton, ripe with wonderful sci-fi/fantasy styled action. He never really lets up from there as almost the entirety of the third act is one elongated action sequence between Kal-El and General Zod (and his group of Kryptonian warriors). Again, the set pieces are grandiose in scale with seemingly much of Metropolis destroyed during the melee, but it works because both Kal-El and Zod are titans fighting in a world incapable of restraining their power (thus, there is a lot of collateral damage as one would expect). The magnitude of their combat also greatly plays into the final decision that Kal-El must make regarding Zod. There is no Earthly force that can stop Zod, therefore it solely rests with Kal-El to make a tough choice.

Snyder, somewhat following in the footsteps of Christopher Nolan’s (who produces this film and co-wrote the story) The Dark Knight Trilogy, takes a much more serious tone with both the character and world than fans of superhero films have become accustom to (especially given Marvel’s model for producing films that are on the lighter, entertainment first side). Man of Steel is very weighty in its drama, as Kal-El spends the whole film soul searching and trying to live up to the hopes of his two father figures. There is almost no reprieve from the intense action and emotional drama, which for some will be all too much.

Yet, as an origin story about a being caught between two worlds in addition to the clear narrative reflecting how mankind often treats outsiders and the pain and suffering incurred as result, Snyder made the stronger dramatic decision to play the film as a deeply emotional and momentous struggle. Kar-El’s path to becoming ‘Superman’ would not feel as earned or important if it was easy (both in terms of overcoming the main villains and his emotional journey finding who he is and who he wants to be). Like Nolan, Snyder invests a lot more in the journey of his lead character than the average lesser genre fare, and it pays off as Kal-El’s narrative resonates with the audience on a more profound level. His struggle actually means something, and is not merely presented for the audience’s entertainment.

Though, the film is highly entertaining too. The action scenes are supremely massive, to an extent that audiences have maybe never seen. Yet, they still work because the audience is invested in the characters. However, one of the film’s weaknesses is also the scale of its action scenes. For viewers who are only peripherally engaged (viewers who for whatever reason do not buy into Kal-El’s narrative journey) the magnitude of the action scenes can feel overwhelming. And again, there is almost no respite from the exacting tone of the narrative.

Another weakness that holds Man of Steel back from being among the genre’s best films is the one dimensionality of General Zod. He is perpetually intense and seemingly crazed. Snyder does not make any attempt to connect emotionally with the character, rather presenting him purely as a potentially unstoppable force of sheer one-sided rage. Zod is thus nothing more than a plot device, an obstacle that must be overcome, and not a fully fleshed out character (like the best genre villains), which undermines the overall power and impact of the narrative.

However, Snyder does make up for it with the great work he does with his other supporting characters, particularly Jor-El and Jonathan Kent – Kal-El’s father figures. The strong character moments that Snyder gives these characters, in addition to their dramatic interactions with Kal-El, make up the film’s emotional core and drive Kal-El’s narrative journey. Their relationship with Kal-El is what enables the audience to connect with him and relate to him. Lois Lane also plays an important role both for the audience and Kal-El. She provides the audience with an additional perspective into the narrative (as an outsider looking in), while serving as an important emotional step in Kal-El’s journey. She is the first human (outside his family) that he feels that he can completely trust, which allows him to find the will to step into the light (so to speak). Snyder handles this relationship well, but also leaving a lot for potential sequels (as the film is about Kal-El becoming Superman and not his relationship with Lane).

Man of Steel also resonates due to its look at modern society’s seemingly intensifying fear of people that are different. Without becoming overly political, there is a palpable discontent in how many feel towards those they deem as outsiders – a distrust, if not complete hatred. This stems from ignorance and anxiety regarding the unknown. The world just feels like a more dangerous place (whether it really is or not), which seems to drive people inward, shunning what they do not know or understand. Snyder’s narrative offers a symbol of hope to remind people that it is within all of us to be accepting, moral, and trust in others. Zod is utterly engulfed with the perseverance of his own beliefs at the ultimate cost to all others (which seems to be a very real, and scary, feeling today among some groups, American or otherwise). Kal-El is able to succeed because he puts his trust in the greater good, setting aside and sacrificing selfish motives.

Superman represents the good of mankind while Zod the close-minded hatred. This juxtaposition however makes the final confrontation between them all the more shocking. Kal-El is not presented by Snyder as the infallibly morel being that Superman has been represented as in past characterizations.  In Man of Steel, he is limited by his own humanity, which makes him more interesting and allows his narrative journey to resonate to a much greater degree than past Superman films.

Man of Steel is imperfect and does not stand among the genre’s truly brilliant films (like The Dark Knight Trilogy and Spider-Man 2). That said, it is very entertaining and emotionally engaging, and more specifically a great modern superhero film (and massive summer blockbuster).

Technical, aesthetic & acting achievements: Zack Snyder is an impressively visual director. Man of Steel has many wonderfully iconic and grand moments and visuals that serve the character well. However, again he seems to favor his over-the-top visuals to content. Man of Steel does have a strong dramatic narrative, which is what makes the film work so well, and the action set pieces are incredible, but they are also a bit overpowering, dulling the overall experience (but it is not to as devastating an effect as with Sucker Punch or the weakest moments of Watchmen). He is able to find a better balance with this in comparison to his past few films, which gives me hope that he will get better as a filmmaker. Man of Steel is a great start, and I look forward to seeing what will likely be an even better sequel (assuming Nolan returns as well to guide Snyder a bit). This is my favorite of Snyder’s films to date.

Following his brilliant and immense scores for Inception and The Dark Knight Rises, composer Hans Zimmer again gives Man of Steel a similarly dominating score (utilizing commanding drums). However, the genius of Zimmer’s work is in the smaller emotional moments. He is able to capture the sheer grandeur of the film while conveying the theme of hope that the character encompasses. It is fantastic work (as usual).  Amir Mokri’s cinematographer fits the tone that Snyder has set for the film visually. His lighting creates a harsh world, mirroring Kal-El’s own internal struggle. Though, it is the moments in which happiness and light are let into the frame that are the most breathtaking. The flashes of Kal-El as a kid wearing a cape playing with his dog in the sunshine are visually and thematically magnificent. Alex McDowell’s production design does a good job of creating Krypton, which has a very sci-fi fantasy feel. Meanwhile, his sets on Earth are grounded in reality, making the Kryptonians all the more extraordinary by comparison.

The cast is good throughout. Laurence Fishburne, Christopher Meloni, and Antje Traue are strong in small supporting roles. Kevin Costner and Russell Crowe (as Jonathan Kent and Jor-El respectively) are excellent in vitally important roles. Their great dramatic work pulls the audience setting the tone and the narrative in motion. Michael Shannon has a special gift for looking like he is on the verge of a complete mental break, exploding into unyielding madness. That is how he plays Zod. It is too bad the character is not given more character development. Amy Adams does a good job with Lois Lane. She is strong enough to fit the part, but also emotionally engaging enough to feel like the right ally to help Kal-El find his way. Henry Cavill makes for a superb Superman. Physically he has the right look, and dramatically he hits the right tone as well. He is able to convey the deep and troubling struggle that he is having internally, creating a character that the audience cares about.

Summary & score: Man of Steel is Superman’s most ambitious and ultimately grandest cinematic undertaking, packed full of monumentally epic action sequences and effective dramatic heft. 8/10

Mud (2013) – Review

Review: Mud is an engrossing coming-of-age story and strong character drama. The film is about Ellis and Neckbone, two teenage friends who go out to a remote island along the Mississippi River to claim an abandoned boat as their own. However, when they find the boat, there is a drifter named Mud living in it. Mud tells them that he is waiting for his truelove Juniper, but hiding from the law after killing a man who hurt her. Taken by his plight, the boys decide to help Mud reconnect with Junipter.

With Mud, writer-director Jeff Nichols seems very interested in exploring the concept of love. At home, Ellis sees his parents’ relationship coming to an end and he does not understand how that can be when they loved each other (at some point in time). To him, love is a powerful agent – the storybook definition in which it conquers all. The deterioration of his home life shakes his confidence in love, which directly plays into why he is stalwart in his desire to help Mud despite all the warning signs (like the fact he is a murderer). He hears Mud’s story about being with his truelove Juniper and it restores the myth for him – a myth that he seems very set on protecting. He is very naïve. Ellis also engages in a relationship with a girl a few years older than him (a high school girl when he is probably in the eighth grade). He thinks that it is as easy as being nice to her and protecting her (because that is what he got from Mud’s story), and in the moment she is taken with him. She likes the attention, but for her there is nothing real between them. For Ellis, though, he is committed and thinks they are in love. He is destined to be hurt and jaded by the rejection (making him even more invested in seeing Mud and Juniper reunited and living happily ever after).

Nichols also explores this theme with the supporting characters that surround Ellis. He sees an upset woman fleeing Neckbone’s uncle’s house yelling that a woman should be treated like a princess. He also hears the story of his reclusive neighbor, a marine sharpshooter who was deeply in love with a woman but she died in childbirth (as did the child). He never loved again. Nichols uses all these stories to create a specific psyche for Ellis – one that allows him to see Mud and Juniper as storybook characters destined to be together, their love being pure with only evil forces keeping them apart. In this mind state, Ellis feels like it is duty to help them be together.

Ultimately, and obviously, Ellis going to be let down and hurt by the people he believes in, because it is all fantasy. In this way, Nichols is also telling a coming-of-age story. Ellis needs to be hurt in order for him to grow up. His friend Neckbone is clearly more skeptical and yet still goes along because he believes and looks up to his friend. He does not have the heart to outright tell Ellis what a fool he is being, rather he backs him up and supports him like a friend should. Mud is also equally naïve, but not due to being inexperienced like Ellis. His naivety stems much more from a place of self-deception. Like Ellis, Mud needs to be hurt to finally come to terms with himself, grow up, and move on.

Nichols starts to transform his main theme of storybook love into friendship. The film almost only shows broken relationships, but the friendships between Ellis and Neckbone and the boys and Mud are both very powerful. While it is unrequited love that helps them grow up, it is friendship that builds them back up and gives them the strength to move on. Nichols handles the material very deftly. It is touching without a hint of cheesiness.

In addition to Nichols’s superb command of the film’s narrative themes, he also develops the characters fantastically and efficiently. The film has a lot of supporting characters, all of whom are important to the plot and the main characters’ dramatic journeys. Thus, Nichols must give them all enough character moments for the audience to build connections to them. He does this magnificently. The story is told very economically, each scene playing an important role in the overall film as the drama builds. Nichols also paces the film well, which is an important and difficult job when a film is character driven. The audience must stay engaged.

While the film works very well overall (and is the best drama I have seen so far this year), the plot does take the drama into an exaggerated place in the third act. Since Nichols manages the audience’s connection with the characters so well, this is not really an issue and the audience is fully invested and willing to go anywhere with these characters. But that said, the third act does feel a little cliché in its drama being ratcheted up. The character drama seems to suddenly change into a thriller somewhat losing sight of the characters. The epilogue also feels very Hollywood (a bit like a test audience demanded a happy unambiguous resolution to the drama, so one was added – but by the same token, who does not like a happy ending).

Despite some nitpicking issues that really do not hurt the film much, Mud is a wonderful character drama, ripe with great characters and strong direction.

Technical, aesthetic & acting achievements: Jeff Nichols has made three films now. Each telling stories about families trying to make it faced with hard and changing times. His films feel very personal. He cares about his characters, which comes across in his narratives and draws the audience in. Nichols is a fine talent coming out of America’s independent cinema. He is a filmmaker to watch. I recommend all is films (his first two are Shotgun Stories and Take Shelter), and looks forward to his next.

Composer David Wingo’s score does a good job reinforcing the dramatic tone. It is at times ominous while in other moments it feels more enchanting, mirroring the drama and themes that Nichols employs in the film. Adam Stone’s photography is wonderful as well. He, along with production designer Richard Wright, gives the film a very realistic look, yet with some foreboding as well (for example: the early shot of the camera floating over the murky, foggy river – which certainly seems to signify that some dark and dangerous is on the horizon). Wright’s design, however, fully immerses the viewer in the realities of the hard lives the characters lead, leaving the fantasy aspects to the cinematography and score.

 The performances in the film are top-notch across the cast. Paul Sparks (is very menacing, which is sort of strange, as I am only familiar with him as his sniveling character on Boardwalk Empire), Michael Shannon, and Sam Shepard are all very good in small supporting roles. Despite their lack of screen time, they each add something dramatically important to the narrative. Ray McKinnon and Sarah Paulson also have small roles (in terms of screen time) as Ellis’s parents, but their dramatic moments are key to the whole narrative working, as their relationship shapes Ellis’s character and his motivations. They are both very good as well. Reese Witherspoon is a great choice to play Juniper. It is easy to both imagine her as the innocent pinnacle of Mud’s affection who loves him too and as a girl who is just using him. In different moments, she makes the audience believe each is true. Jacob Lofland, playing Neckbone, is fantastic. He is very resourceful and tough, and yet very vulnerable. Tye Sheridan, playing Ellis, steals the film (even though most will look to Matthew McConaughey’s performance, as he is the main name actor in the film). He has a true heart and is maybe the only real hero (in the classic sense) left in his weary world. McConaughey is also excellent in the film as Mud. He is wildcard. At any moment he might harm his young companions, but he is so captivating as well. He just draws the audience in, making them forget that he is dangerous and probably will hurt these kids in the end.

Summary & score: Mud is built on terrific characters and wholly engaging drama. It pulls the viewer in and never lets them go until the last frame. 8/10

LeapBackBlog 2011 Film Awards – Part 4: Leading Performances

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 3: Directors

Part 5: Films

Leading Performances:

George Clooney – The Descendants

The Descendants is built on its fantastic performances headlined by standout work from newcomer Shailene Woodley and George Clooney. He had a very good 2011 with this film and co-starring, co-writing and directing The Ides of March. In the last few years, Clooney has been making a name for himself as an acting heavyweight with performances in Syriana, Michael Clayton, Up in the Air, and The American. However with The Descendants, he does the best work of his career. There is still signs of his swagger that he brings to his work, but he is also very vulnerable and seems completely at a lose and out of his depth, which is perfect for his character Matt King a parent having to take sole responsibility for his two daughters for the first time while also being saddled with unwanted outside family pressures.

Viola Davis – The Help

Viola Davis is a pillar of strength in The Help. It is easy to say the film is about perseverance and that her character Aibileen embodies all the qualities that come which the heroine of such a narrative, as that is true. But, The Help and Aibileen strive for more. Davis triumphs because of the depth and humanity she brings to the role. Yes, she is a strong woman as her character, but there is also a real fear as well. Without this fear, her story and actions would not resonate and mean as much as they do. The Help is one of the year’s best films because of the work of Davis and the other great actresses. Otherwise, it might have turned out to be another thinly veiled morally self-aggrandizing hollow film like Crash (one of the most overrated films of the last decade).

Kirsten Dunst – Melancholia

Winning the 2011 Cannes Film Festival Best Actress award for her performance in Melancholia, Kirsten Dunst does the best work of her career. Her character Justine has such an interesting arc – going from seemingly happy in the opening moments to being completely incapacitated by depression, only to find strength and purpose within herself when the world is about to end. She does not fear it, unlike all the other characters in the film. The range that the performance demands would be difficult for even great actresses, but Dunst seems to make it her own bringing such beauty and sadness to Justine. It is such a nuanced and subtle piece of work that I can only expect great thing from her in the future (as this is probably my favorite female performance of the year).

Michael Fassbender – Shame

No one had a better 2011 than Michael Fassbender. He starred in four films (Jane Eyre, X-Men: First Class, A Dangerous Method, and Shame), giving brilliant performances in each (all of which could have probably made this list). However, it is with Shame that he does his most interesting work. As sex addict Brandon, Fassbender gives a haunting performance in which he seems to degrade himself into something subhuman. He completely gives himself over to the character (which must have been hard to deal with when the cameras were not rolling – the pain, anger and bleakness of it). Carey Mulligan gives another great supporting performance (in addition to Drive) and Fassbender plays off her very well. It is phenomenal work and one of the bravest performances of the 2011.

Rooney Mara – The Girl with the Dragon Tattoo

What is so incredible about Rooney Mara’s work in The Girl with the Dragon Tattoo is that her role was played ironically by Noomi Rapace in 2009 (2010 for U.S. audiences), and yet Mara brings so much to the role and is just as iconic (different, but equally as good, if not better). For those that have not seen her in Tanner Hall or the brilliant small supporting part she plays in The Social Network, her work here is the breakout performance of the year, as Mara is now a star and one of Hollywood’s most sought-after actresses. Mara plays Lisbeth Salander to be confident in troubling situations, but awkward and vulnerable when it comes to more personal relationships. She is mesmerizing, the audience misses her when she is not onscreen and anticipates her return (which can be said of the best performances).

Gary Oldman – Tinker Tailor Soldier Spy

In what is one of the most subtly and subdued performances of the year, Gary Oldman is absolutely phenomenal as George Smiley in Tinker Tailor Soldier Spy. Smiley is such a difficult role to portray cinematically, as he is so boxed up emotionally. But, Oldman is able to give the audience just enough to make Smiley relatable allowing the audience to feel what he feels, while still being true to the character. He is one of the best character actors working today. I am not sure a lesser actor could have pulled this performance off. It is not flashy, but easily one of the most intricate and best performances of 2011. Oldman also has a very good small part in the Deathly Hallows: Part 2.

Elizabeth Olsen – Martha Marcy May Marlene

Elizabeth Olsen’s performance in Martha Marcy May Marlene is another of 2011’s many wonderful breakthroughs. Martha is also yet another difficult character to play, as so much of it needed to be shown subtlety so that her episodes dealing with constant fear and dread can come off feeling real (whether it actually is or not). The narrative structure of the film juxtaposes Martha on the compound with after she escapes and is staying with her sister (seemingly now a wreck). Olsen’s complete change in demeanor in each is remarkable. She also plays off fantastic character actor John Hawkes, who plays the cult leader, very well – and this being her first real dramatic performance.

Brad Pitt – Moneyball

Like good friend George Clooney, Brad Pitt has established himself as one of the best actors working right now (with recent performances in The Assassination of Jesse James by the Coward Robert Ford and The Curious Case of Benjamin Button, among others). Pitt had a good 2011 as an actor as well with very good work in The Tree of Life and Moneyball. In Moneyball, Pitt plays maverick baseball GM Billy Beane – struggling to produce a good team without any money and also struggling with his own sense of self worth. Pitt plays it as if Beane is a loner, outside the system – a bit like a stoic cowboy out on the range. He has become a fabulous actor and I look forward to his future work.

Saoirse Ronan – Hanna

With the role of Hanna in Hanna, I cannot imagine anyone else playing it (let alone as well) other than Saoirse Ronan. Physically, this is an extremely challenging role, as Ronan needed to both hit all the right dramatic notes in the coming-of-age story and all the action beats in the thriller aspect. She is completely believable as an action star, handling the fight sequences with grace and confidence. But, she is an even better dramatic actress. Hanna is a character completely virgin to the world, raised in solitude, and Ronan brings wonder be it guarded to the role. Building on her excellent breakthrough performance in Atonement, Ronan is one of the best young actresses right now.

Michael Shannon – Take Shelter

Ever since Michael Shannon’s performance in Revolutionary Road, he has been an actor to watch. With his performance as Curtis in Take Shelter, Shannon captures the sheer panic of someone who feels like they are losing their mind. He does a lot of the dramatic work with his face and eyes, gradually letting the feelings of desperation, alarm and agitation take hold. This seems to be one of the forgotten performances of 2011, but it is certainly one of the best. Almost the whole narrative is predicated on Shannon’s work, and he is brilliant.

Take Shelter (2011) – Review

Review: Take Shelter is a building character piece that has a magnificent pay-off. Writer-director Jeff Nichols paces the film in such a way that the tension builds and weights not only on the characters but also the viewers. He invites us into the world and mind of Curtis, completely investing our attention in his journey and outcome, and this connection is vital as the slow pacing will ultimately alienate those that do not connect. That said this film is not going to work for all viewers. There is not much action – most of the tension and drama plays out in the eyes of the characters. However, despite the slow pacing the end of the second act and the whole third act is incredibly well done, completely paying off all the character drama done up until those moments. Nicholas does not rely on special effects or explosions, and yet this is one of the most effective and affecting thrillers of the year. The sense of an impending dread that he creates is fantastic – even as we doubt the mental faculties of Curtis, the fear still sets in within us that something is coming. Take Shelter is built around the brilliant performance of its lead and while slow at first, it has extremely gripping third act, in which we are not even sure what to believe.

Technical, aesthetic & acting achievements: Jeff Nichols has now made two films (the other being Shotgun Stories), and has quietly established himself as one of the better indie directors working right now. I am definitely eager to see what he does next. Composer David Wingo’s score is probably the best of his career (or at least very close), as it works very well getting the tone just right – something that is particularly vital to a film such as this. Adam Stone’s cinematography is also very good (this is his first film to receive a wide distribution and I imagine he will be in high demand now). Production designer Chad Keith’s sets are very simple and fit both the tone and style of the film perfectly, allowing for the performances to be the main focus. Katy Mixon, Kathy Baker, Ray McKinnon and Shea Whigham provide good supporting work. Newcomer Tova Stewart is good as well in what was probably a difficult first performance. Jessica Chastain (having a fantastic breakthrough year) also has a very difficult performance playing against the lead, yet she does so beautifully. Michael Shannon is phenomenal in the film –both in the subtly, emoting emotion purely with his eyes, and physically, as the strain seems to become too much as the film develops, aspects of his performance. It is among the best of the year.

Summary & score: Take Shelter is a powerful thriller that seems to pierce into our own fears and dreads through brilliant performances and tone. 8/10