LeapBackBlog 2013 Film Awards – Part 2: Supporting Performances

Film in 2013 was fantastic. We saw tons of wonderful performances, powerfully emotional dramas, hysterical comedies, gripping thrillers, big and entertaining blockbusters, and grand technical achievements. This year was particularly difficult in narrowing down my choices for my favorite films, performances, directors, and technical accomplishments. For example, I loved Amy Acker in Much Ado About Nothing and Oscar Isaac in Inside Llewyn Davis, but neither quite made the list, and the same can be said for David O. Russell’s wonderful directing in American Hustle or Hoyte Van Hoytema’s sublime cinematography in Her (both just missing out on the list, when they would have made it in most other years). And, there are a number of good films that did not make the list either (and a few I have not yet seen). As it stands, the LeapBackBlog Film Awards are made up, through difficult deliberation, of the films that entertained me and grabbed me as something special, the performances that engaged me, and the craftsmanship that delighted me. These are my favorites of 2013.

Part 1: Technical Achievements

Part 3: Directors

Part 4: Leading Performances

Part 5: Films

Daniel Bruhl – Rush

While Rush is a great sports drama, it is a narrative that is dependent on its characters and their performances. Daniel Bruhl is exceptional as Niki Lauda, a cerebral driver who wins his races by understanding what makes his car superior (and what he can do to it to make it superior) and how to approach each race and track. Bruhl completely loses himself in the performance and role. Lauda is not necessarily a likable character, but Bruhl brings a great charisma to the character, which allows the audience to get behind him. They can see his talent and the confidence he has in himself, and that is infectious. With Rush and the character of Lauda, Bruhl finally has a performance that will serve as a breakthrough for him (which is very deserving for such a talented actor).

Bradley Cooper – American Hustle

American Hustle has a lot of fun with its actors, allowing them to play dress up in a sense, and Bradley Cooper goes all in (with a perm and Saturday Night Fever-like wardrobe choices). But what makes his performance as FBI agent Richie DiMaso so compelling is the intense nervous energy that he exudes. Cooper’s DiMaso has grand plans and wide eyes. He thinks he is the smartest guy in the room, making all the right moves, when really he is in way over his head. Getting back to his intense energy in the role, what makes it so gripping is that the viewer never really knows where it is going to lead. Cooper is a complete wildcard, much like Jennifer Lawrence’s brilliant performance. That kind of work is just so dynamic because it is never boring.

Michael Fassbender – 12 Years a Slave

Michael Fassbender gives what I think is 2013’s best supporting performances by an actor in 12 Years a Slave as the ruthless slave master Epps. Fassbender carries such an intense and intimidating presence in the film that the viewer cannot help but feel small, weak, and scared. He is utterly evil and vile. And yet, Fassbender brings so much depth and humanity to the character. The audience can see that there is weakness in his character and that he struggles with his vices, striving to be a better man, only to be pulled down over and over by a deplorable cruelty that he cannot shake. He is a man who is ashamed and afraid, lashing out to try to hide these truths. It would be easy to just dismiss Epps as an evil man if not for the clear inner-pain that rules his life. He may even be sympathetic (if we even dare think that) – though his actions are unforgivable, making for a complex and compelling performance. Fassbender is also very good in The Counselor (what is probably 2013’s most overlooked and misunderstood film).

Tom Hiddleston – Thor: The Dark World

Choosing Tom Hiddleston in Thor: The Dark World is very unconventional, especially in such a strong year for performances and films, I know, but the man is just so joyously wonderful as Loki. Hiddleston especially gets to have fun with the character in The Dark World, playing a whole range of emotions. He is tortured with envy over the place his brother holds and full of scorn for his adopted father, and yet also has almost unconditional love for his adoptive mother. All this is kept tightly inside, while he just takes a gleeful joy in being a villain and trickster. He revels in it. And so too does the viewer. Hiddleston has created Marvel’s greatest cinematic villain and one of the best in film history (a history that has seen a couple of brilliant and game changing performances in recent years), and his work as Loki in this is his best so far.

Jonah Hill – The Wolf of Wall Street

The Wolf of Wall Street is an insane exercise in excess, moral corruption, and greed. But, it sure is fun. The actors are given license to go big with their performances, and the whole narrative and world in which these characters exist is so over the top that they all feel firmly rooted in the reality of the narrative. Jonah Hill is clearly having a blast with his character Donnie, a man with seemingly no morals or boundaries. He is just so antagonistic and a complete asshole, and yet completely compelling and entertaining. It is maybe Hill’s best work to date. Margot Robbie is also fantastic in support in the film. Hill had a good 2013, starring in This Is the End as well, playing a very douchy version of himself.

Scarlett Johansson – her

Scarlett Johansson has one of 2013’s most difficult roles, playing the voice of Samantha in Her – an operating system who is self-aware and wants to experience all that is life, including love. What makes the role so difficult is that Samantha is essentially an inanimate object, shown only as an iPod-like device or computer screen. Johansson has to do everything solely with her voice. And to this, she is excellent.  As far as anyone is concerned, watching the film, she is alive. She feels just as vital and real as any of the other characters (which includes wonderful supporting work from Amy Adams and Rooney Mara as well; on a side note, Mara had a great 2013 with phenomenal work in Her, Ain’t Them Bodies Saints, and Side Effects). Johansson is also very good in the 2013 romantic comedy Don Jon.

Jennifer Lawrence – American Hustle

Jennifer Lawrence is a whirlwind in American Hustle. She plays Rosalyn Rosenfeld (the wife of con man Irving). Lawrence mines her scenes for every bit of fun with her charismatic and attention seeking performance. She absolutely commands the screen whenever she is in a scene, playing against other wonderful actors giving great performances. It is not subtle at all, but neither is the film. She walks a very interesting line between all-consuming and done right frightening. It may be the best performance of the film, and is certainly among the year’s best. The scene in which she sings Live and Let Die is one of 2013’s most entertaining cinematic moments. Lawrence is also very good as Katniss Everdeen in The Hunger Games: Catching Fire.

Carey Mulligan – Inside Llewyn Davis

Carey Mulligan does not have a lot of screen time in Inside Llewyn Davis, but her character Jean sure leaves an impact. Her chemistry with Oscar Isaac (who is also brilliant in the film, and barely missed making the Leading Performance list this year, which is overcrowded with great work) is electric. Their shared scenes jump off the screen. Mulligan does a fantastic job channeling all her pent up rage towards Isaac’s Llewyn Davis. Yet she does something more, something that makes the performance special, she does not just show hatred and rage, but there is a playfulness and maybe even a secret glee to her attitude towards Davis. Yes she is incredibly frustrated with him, but it seems to come from a very caring place (something that is kept hidden away). Mulligan is very good at layering her performances, and this is one of her best.

Lupita Nyong’o – 12 Years a Slave

Without question Lupita Nyong’o’s tragic and heart-wrenching performance as Patsey in 12 Years a Slave is 2013’s greatest breakthrough acting achievement. She plays Patsey so delicately, yet with some defiance in her. However, her mental anguish is so severe that she only wishes for death. She is a flower desperately reaching for the sun, the thing that seems the most natural and right to her, but is constantly stymied through the terror of a dark cloud that hovers above her. In a film that features many of this year’s strongest performances, Nyong’o is able to distinguish herself and standout as a star (and in a film that marks her feature debut). She delivers profound work; it certainly seems like her future is very bright.

June Squibb – Nebraska

Nebraska is a film that succeeds on its great performances, notably from Bruce Dern, Will Forte, and June Squibb. She plays Woody Grant’s wife Kate, a strong-willed lady who is a bit fed up with Grant’s shenanigans. Squibb’s lively performance completely holds its own against the other great work in the film, and in many ways even might steal the film. She is a delight whenever she is onscreen. It is surprising that a woman of eighty-four would give one of 2013’s best breakthrough performances, but that is exactly what Squibb has done.

Stars to Watch: Part 13 – Movies Spotlight – November 2013

Domhnall Gleeson

What He Has Been In:

Domhnall Gleeson, 30, is the son of Irish actor Brendan Gleeson. He went to the Dublin Institute of Technology where he studied Media Arts. After graduating, Gleeson began taking roles in shorts, small British films, and TV series. His first big film came with a small role in the sci-fi drama Never Let Me Go.

His next big break came in the Harry Potter Series, winning the role of Bill Weasley (his father plays Mad-Eye Moody in the series as well). Gleeson appears briefly in Harry Potter and the Deathly Hallows: Part I and has a slightly bigger role in Part II (but still rather small overall). He also has a great, but small role in True Grit playing one of the bandits caught in the crosshairs.

Other British films of note that Gleeson has appeared in include the fantastic comic-book action film Dredd, in which he appears as a criminal, and the IRA drama/thriller Shadow Dancer.

Breakthrough:

Gleeson’s breakthrough, if you even want to call it that, as the film was not widely seen and he plays the third or fourth lead, came with 2012’s Anna Karenina (directed by Joe Wright), giving him his largest role to date in a major motion picture. The film stars Keira Knightley in the lead, while Gleeson plays Levin, a wealthy farmer looking to court the lovely Kitty (played by Alicia Vikander). Gleeson is quietly very good as Levin, and has great chemistry with Vikander. The film is utterly stunning and a must-see for those looking for a film that is as much art as narrative.

November Film:

In November, Gleeson stars opposite Rachel McAdams and Bill Nighy in the time-travel romance About Time. The film, written and directed by Richard Curtis, is about Tim, a young man who is told by his father that he has genetically inherited the ability to travel through time. Tim then uses this gift to try and win the heart of Mary. The film mark’s his first true leading role in a big film. Trailer: Here.

Upcoming:

Gleeson has five upcoming projects slated for 2014. First, he is set to star with his father, Chris O’Dowd, and Kelly Reilly in John Michael McDonagh’s Calvary. Next, he stars opposite Michael Fassbender and Maggie Gyllenhaal in the strange dramedy Frank. Then he stars with Oscar Isaac and Alicia Vikander in writer Alex Garland’s feature directorial debut Ex Machina. Gleeson then stars in Angelina Jolie’s next film as a director Unbroken about an Olympic runner who is taken prisoner by the Japanese during WWII. The screenplay is by the Coen Brothers. Finally, he is set to star opposite Saoirse Ronan in the film Brooklyn about Irish immigrants in New York during the 1950s. He certainly has a fantastic slate upcoming.

Career Highlights:

1)      Never Let Me Go (2010)* – cameo (Blu-ray, Video On-Demand, Trailer)

2)      Harry Potter and the Deathly Hallows: Part 1 (2010)* – cameo (Blu-ray, Video On-Demand, Trailer)

3)      True Grit (2010)* – supporting (Blu-ray, Video On-Demand, Trailer)

4)      Harry Potter and the Deathly Hallows: Part 2 (2011)* – supporting (Blu-ray, Video On-Demand, Trailer)

5)      Dredd (2012) – supporting (Blu-ray, Video On-Demand, Trailer)

6)      Anna Karenina (2012)* – lead (Blu-ray, Trailer)

*Editor’s picks

Tom Hiddleston

What He Has Been In:

Tom Hiddleston, 32, started his career, as many British actors do, on television, appearing in such things as, Conspiracy, The Gathering Storm, and Cranford. After graduating from the Royal Academy of Dramatic Arts, he began to get more roles and bigger roles in Brittan, including a sizable one on the BBC (remake) detective drama Wallander.

After appearing in Thor, Hiddleston began booking even bigger films (including some outside England), including: a great supporting role as F. Scott Fitzgerald in Midnight in Paris, taking a leading role in the drama The Deep Blue Sea, and a supporting role in Steven Spielberg’s War Horse.

Breakthrough:

Hiddleston’s breakthrough came as the character Loki, appearing first in 2011’s Thor. The film was a success, but not overly so, yet it got his name and face out there as he was one of the best parts of the film – his performance being equal parts villainous, slimy, and charming.

However it is Joss Whedon’s The Avengers that really has made him a star, and a favorite among the fans of Marvel’s cinematic universe. The film was a massive hit, and Hiddleston clearly enjoyed his role as its central villain – basking in his own glory. Maybe more so than any other actor in the film, Hiddleston emerged as a new talent to regard.

November Film:

Turning in his third performance as Loki, Hiddleston is back with this month’s Thor: The Dark World (directed by Alan Taylor). This time, however, Loki is not the central bad guy, rather Thor must battle Dark Elves set on returning the Nine Realms to darkness. But, that does not mean Loki cannot have his fun as well. The film is highly entertaining, and among the better films to come from Marvel Studios so far. Trailer: Here.

Upcoming:

Hiddleston has a few upcoming projects. First he is set to feature in a supporting (possibly cameo) role in 2014’s Muppets Most Wanted, starring Ricky Gervais and Tina Fey. The sequel sees James Bobin returning in the director’s chair, helming a European jewel-heist Muppets caper. Next he stars in the animation fantasy The Pirate Fairy, and finally he stars opposite Charlie Hunnam and Jessica Chastain in Guillermo del Toro’s new horror film Crimson Peak (slated for 2015). In all likeliness (and hopefully) he will also appear in the inevitable Thor 3 (though, sadly, he is not scheduled to be in The Avengers: Age of Ultron – at least as far as we know at present).

Career Highlights:

1)      Thor (2011) – lead (Blu-ray, Video On-Demand, Trailer)

2)      Midnight in Paris (2011)* – supporting (Blu-ray, Video On-Demand, Trailer)

3)      The Deep Blue Sea (2011) – lead (Blu-ray, Video On-Demand, Trailer)

4)      War Horse (2011) – supporting (Blu-ray, Video On-Demand, Trailer)

5)      The Avengers (2012)* – lead (Blu-ray, Video On-Demand, Trailer)

*Editor’s picks

Elizabeth Olsen

What She Has Been In:

Elizabeth Olsen, 24, got her start appearing in a number of her twin-big-sisters’ projects. However, it was somewhat tough for her early on, always in their (notorious, some might say) shadow. Finally, in 2011, she was able to make a career for herself on her own name.

She has since appeared in the horror film Silent House, the mystery thriller Red Lights, the romantic drama Liberal Arts, and the indie drama Kill Your Darlings.

Breakthrough:

Olsen’s breakthrough, however, came in Sean Durkin’s Martha Marcy May Marlene. Not only did she take the lead role in the film, but she also gave one of 2011’s most intriguing and brilliant performances. It is really a challenging character, requiring Olsen to exhibit a vast emotional range, and yet she beautifully (and tragically) captures each beat.

November Film:

In what may potentially be cool or completely ill-conceived, Olsen stars in Oldboy coming Thanksgiving weekend opposite Josh Brolin and Sharlto Copley. The film is a remake of the wonderful 2003 Korean film by Chan-wook Park (and both are adaptations of the manga comic). The film, directed by Spike Lee, is about a man who is trapped in a room for twenty years and then set free. The man then dedicates everything he is to figuring out: A) who trapped him and B) why.

Upcoming:

Olsen has some big projects upcoming. In 2014, she is set to star opposite Aaron Taylor-Johnson and Bryan Cranston in Gareth Edwards’s remake of Godzilla (hoping to undo all the ill will that 1998’s Godzilla has brought about). Edwards is a perfect fit – see Monsters. Then, in 2015, she stars as Scarlet Witch (Wanda Maximoff) in The Avengers: Age of Ultron. In addition to Olsen, Aaron Taylor-Johnson and James Spader join the franchise. Although she has primarily done indie films to date, her future looks to make her a big name.

Career Highlights:

1)      Martha Marcy May Marlene (2011)* – lead (Blu-ray, Video On-Demand, Trailer)

*Editor’s picks

Hailee Steinfeld

What She Has Been In:

Hailee Steinfeld, 16, has been acting since the age of eight, but is relatively unknown. She has primarily lent herself out for short films. While her breakthrough came in 2010, she then took a break until 2013, filling her schedule. Her first film to come out this year was Romeo and Juliet.

Breakthrough:

Auditioning among 15,000 other girls, the Coen Brothers chose Steinfeld to play Mattie Ross in their remake of True Grit. She is fantastic in the role playing opposite Jeff Bridges and Matt Damon, in many ways stealing the film despite the very good work from all involved. She gives such a strong performance that she essentially became a star overnight, which makes it all the more surprising that she then took two years off. It is the best western of this decade so far.

November Film:

In November, Steinfeld features in a supporting role in Ender’s Game, which stars Asa Butterfield and Harrison Ford (and is written and directed by Gavin Hood). She plays Petra, a friend and potential romantic interest to Ender. The film is about a future version of Earth that has narrowly survived an alien invasion. In an effort to counterstrike any future attack, the military has turned to training children to be heartless killers due to their gift for strategy and susceptibility to brainwashing – Ender is their most promising candidate to lead their fleet of warships. Trailer: Here.

Upcoming:

Steinfeld has been very busy since returning to Hollywood. Coming in 2014 she has a supporting role in the music dramedy Can a Song Save Your Life? starring Keira Knightley and Mark Ruffalo. It is John Carney’s follow-up to his brilliant and terribly under-seen musical Once. Next, she features in support in Tommy Lee Jones’s second feature film The Homesman, which Jones also stars in opposite Hilary Swank. Then, for a change of pace, she stars in McG’s Hollywood action film Three Days to Kill with Amber Heard and Kevin Costner. Keeping with the variety of projects, Steinfeld will also star in the Civil War drama The Keeping Room opposite Sam Worthington and Brit Marling. Kyle Newamn, who also directed Fanboys, is back with a new comedy Barely Lethal, in which Steinfeld plays a 16-year-old assassin who just wants a normal life (it is like the American, watered-down version of Hanna). And finally, Steinfeld is set to star opposite Sam Worthington in the action thriller For the Dogs (also centering on an assassin character, making it three upcoming projects to do so with Three Days to Kill and Barely Lethal). All six of these films are slated for 2014, but likely a few will be pushed back.

Career Highlights:

1)      True Grit (2010)* – lead (Blu-ray, Video On-Demand, Trailer)

*Editor’s picks

Thor: The Dark World (2013) – Review

Review: Thor: The Dark World is a joyously entertaining sci-fi adventure film, proving that with Phase II Marvel has its stride, making great superhero films. The film is about a nefarious plot by the Dark Elves to cloud the Nine Worlds in total darkness. It is up to Thor, Dr. Jane Foster, and the Warriors Three (plus Sif) to stop them and thereby save the worlds.

Continuing the trend of The Avengers and Iron Man 3, Thor: The Dark World comes off extremely entertaining due to the great mixing of action, comedy, and drama. Director Alan Taylor brings grittiness to the film, but still keeps the overall tone on the lighter side (fitting with Marvel’s cinematic style). This would seem like a difficult task, the grittiness of the film clashing with the lighter tone. However, Taylor is able to find a good balance by keeping the spirit of the characters light (and jovial) and then plunging them into more serious dramatic situations. Thus, there is gravity to what is happening; there are real consequences for the characters, and yet there is still a place for levity.

Taylor also does a great job with his characters. The levity does a lot in this respect too. The audience is enchanted by the lighter, funnier character moments leading them to really like these characters (building off their feelings coming into this film based on the previous Marvel films). The audience is more-or-less invested in these characters coming in, but the great fun character moments only amplifies that positive feeling towards them, which then leads to drama that resonates to a higher extent. And this is really where Thor: The Dark World excels over its predecessor. The audience actually cares about these characters, and not just about the big action set pieces.

Staying with the humor in the film, it is not explicitly clear which scenes Joss Whedon came in to punch-up, but one can assume he likely brought some of the wonderful funny character moments. This might be the funniest of the Marvel films to date (though, The Avengers has its moments, as does Robert Downey Jr. across the Iron Man movies). Even though the mandate for Phase II has seemed to be taking the Marvel Cinematic Universe to a darker place after the events of The Avengers – the stakes have certainly been raised – Taylor and Whedon have remembered that humor is essential in this type of film (even if the overall tone is heavier). It allows the audience to catch their breath amongst all the drama and action (which, I have said over and over, is vital) and only heightens the overall enjoyment of the experience. After all, the main goal of these films is to entertain.

The visual style is also brilliant. Kenneth Branagh (the director of Thor) set up the style of Asgard, but Taylor takes it to another level. Thor: The Dark World feels more epic, like a combination of The Lord of the Rings and Game of Thrones (which is exactly what Marvel wanted when they hired Taylor) with sci-fi overtones, which seems to fit the character perfectly. While Iron Man 3 took on the persona of a 1990s action movie, Thor: The Dark World visually and tonally became much more an adventure epic (and Captain America: The Winter Soldier looks like a good spy thriller). It is nice to see each character find his place and appropriate tone/style, while still feeling apart of the same bigger universe.

The only downside of the film is that the main villain is a bit under developed. Malekith is basically just a generic revenge-driven enemy from the past (which we have never seen before in a Marvel film…oh wait…forgot about almost every villain so far). The villain here, though, is secondary (as is the general plot, which is also rather generic). The main point of this film seems to be the further development of the principal characters (prominently focusing on Thor’s relationships with those around him – Jane, Loki, Odin, and Sif). Malekith is just an enemy that brings all of them together, escalating the fiction in their relationships. So while he is utterly forgettable, the characters the audience do care about grow and change. Malekith is just the catalyst. However, a weak villain has been a complaint in many of the Marvel films, with really only Loki rising to the heights of the great bad guys seen in other superhero films (Magneto, Dr. Octopus, the Joker, and Bane). Loki’s presence in the film also takes away from Malekith. Loki is a fan-favorite, so well played, and very charismatic. It is impossible for another villain to seem as engaging or substantial when Loki is also in the film.

Throughout Phase I, Marvel Studios proved that they could make entertaining, fun superhero films, but until The Avengers (and really, that film only becomes amazing in the third act with the battle of New York) they had struggled to replicate the overall quality of the top tier films in the genre. Iron Man 3 and now Thor: The Dark World see them one step closer: entertainment that is also dramatically engaging and aesthetically compelling. Thor: The Dark World if nothing else is a highly entertaining sci-fi adventure fantasy romp, but for those delighted by the genre (as I am) it offers a rich visual style, great characters, exciting action, and maybe best of all infectious laughs.

Technical, aesthetic & acting achievements: Alan Taylor is best known for directing episodes of many of the best series on television (notably: Deadwood, Rome, The Sopranos, Mad Men, and Game of Thrones – being one of that show’s principal technicians during the first two seasons). With Thor: The Dark World, he shows his ability to bring a strong sense of visual style to a film and franchise that is already impressive. These are the same characters we have seen before, but in this film they just feel bigger and their world grander. Should there be a Thor 3, I hope Taylor returns to helm it.

Scoring this film must have been a very enjoyable gig, composing pieces of music for what is basically a heroic poem (or at least the modern pop-culture version of a heroic poem). Brian Tyler delivers a great score that booms and thunders (sure, maybe I could have been more creative, but those puns were just sitting there), entirely fitting the tone and visuals. Cinematographer Kramer Morgenthau (who came onto the project with Taylor from Game of Thrones) also does great work. The lighting in the film is excellent, giving it a look that while feeling somewhat gritty and realistic on Earth (though still with a certain fantasy glean) absolutely pops when the narrative finds itself in the other worlds. Working hand-in-hand with Charles Wood’s brilliant production design, the photography gives each world its own style and feel. The design in grandiose and beautiful (and on par with the best fantasy films), but the lighting just adds this great grittiness that seems to emphasis everything as being much more vital. All in all, it is a very strong film aesthetically (probably more so than was to be expected – but that said, there is more to play with in Thor than other Marvel films stuck on Earth).

In addition to the wonderful visuals, the performances in Thor: The Dark World are fantastic. The film has a ton of characters, most appearing in smaller supporting roles. The best among them belong to Chris Evans, Chris O’Dowd, Stellan Skarsgard, Kat Dennings (these four all provide hilarious moments), Idris Elba (who seems to bring weight to everything he does), Ray Stevenson, Zachary Levi, and Jaimie Alexander (these three play Asgards other notably warriors and are a lot of fun). Christopher Eccleston plays Malekith, the leader of the Dark Elves. While he does not really have much to do, he does bring a great seriousness and calm to his villain. He is not theatrical or big in his performance (which is often the way villains are played). Malekith is not even so much evil, just determined (his villainy arising from his ideas opposing those of our hero). Anthony Hopkins plays Odin (Thor’s father) with the weathered, battle hardened edge of an aging leader, and it works well (and is right in his wheelhouse). Natalie Portman has maybe the most difficult role in the film. As Dr. Jane Foster, she must play the typical love interest needing rescuing at some point, but she also sort of escapes that stereotype by really being a big part of the solution as well, rather than just one of the many things for the hero to save. Portman does a good job playing the wonder of Asgard and the strength/charm/goofiness that won her Thor to begin with. Tom Hiddleston steals the film as Loki. He just has such a gleeful love of himself and his own villainy. Every scene he is in is better for it (and it is easy to see why he is a fan favorite). It is a shame his great work will never get any critical recognition come awards season. Chris Hemsworth embodies Thor completely; when you see him, you see the character. What else can one ask from a performance?

Summary & score: With its eighth, Thor: The Dark World, Marvel’s films seem to only be getting better. 8/10

The Avengers (2012) – Review

Review: The Avengers is a brilliant action adventure film, chock-full of huge action set pieces, witty dialog, funny moments, and great characters. The film is about Earth’s mightiest heroes (Iron Man, Captain America, Thor, Hulk, Black Widow, and Hawkeye) teaming up together to stop an alien invasion brought about by Loki. The Marvel Studios films have prized entertainment over everything, as they built up to The Avengers. Often, however, they left the audience wanting, as character and drama resonate more than just a fun experience. Writer-director Joss Whedon had a daunting task ahead of himself taking on a film with essentially six main characters, each requiring their own character moments. Whedon does a fantastic job balancing the mandate from Marvel for The Avengers to be highly entertaining and enormous in scale and getting the necessary drama and character moments for the many characters while keeping the film ever moving forward. The great achievement of this film is not so much the great action set pieces but rather Whedon’s ability to give every character enough to build a connection with the viewer. The audience understands the ethos of each character, and Whedon does this very economically (once it gets going, it never feels slow). There are stakes for the characters in this film, which makes their struggle all the more meaningful for the audience (though, at the same time, the fact that Marvel already has sequels set up for these characters somewhat diminishes the stakes as we all know they are going to make it through just fine and off onto their own films – we know there are no real mortal consequences for the main characters going in). Along with giving each character their moments to shine (dramatically and otherwise), Whedon also understands the dynamics between the characters, and the best scenes in the film come when these characters are onscreen together (both as a team and as bickering self-important egos). The film hits its stride (starting a bit slow) when these characters are put together (beginning with Captain America going after Loki and Iron Man showing up). He also gets each character individually, and worked with each actor to create wonderful dramatic characters and performances. Once the Avengers are all together, the film is just a lot of fun – both in terms of very well done action set pieces and hilarious dialog and other jokes (Hulk and Iron Man probably get the best material). Whedon’s sense of humor lends itself perfectly to this film. There are as many sheer moments of laughter as there are ‘wow’ moments. Structurally, Whedon sets the film up to play almost as a third act to the five prequels (Iron Man, The Incredible Hulk, Iron Man 2, Thor, and Captain America: The First Avenger). The characters are briefly reintroduced (though, most of the early characters moments were taken out of Whedon’s first cut as it came in at 3 hours), but Whedon assumes that the audience already knows who these characters are and proceeds accordingly, jumping right in. Plus, the film is so much fun and so entertaining, the narrative is really secondary, and even unimportant (because, really, all the audience wants is to see these characters interact and team up – and both these things happen – what they battle against is not important, only that we get to see them do it). Also, the narrative constantly builds towards the final battle, as the stakes seem very immediate. Whedon does a great job with the pacing for the most part. Again, the beginning gets off to a slow start (and maybe this is just because we cannot wait to see the Avengers all together), as characters are reintroduced and rounded up (playing a bit like a Muppet movie or a getting the band back together narrative); but once they are together, the pacing is brisk and efficient (at 142 minutes, the film seems to fly by). While The Avengers is not quite on the same level as Christopher Nolan’s Batman Begins and The Dark Knight or Sam Raimi’s Spider-Man 2 (the tier one of superhero films), it is just a level below (with X-Men: First Class), and easily the best of the Marvel Studios films. Entertainment over everything is again the mantra for The Avengers, but Whedon has also included enough character moments and resonance to create what will likely not only be the most entertaining film of the summer, but also one of the best.

Technical, aesthetic & acting achievements: Auteur Joss Whedon has long been a cult hero (since the days of his Buffy the Vampire Slayer TV series), churning out beloved work but constantly struggling with reaching a larger audience (three of his four TV shows were cancelled, and his first feature Serenity grossed just $39.5 million worldwide). Now, with both the critical and box office success of The Avengers (opening to the biggest box office weekend ever to date), he can probably do whatever project he wants next (and that is a great thing for us all). His writing and directing on The Avengers is phenomenal work, capturing and managing all the characters perfectly. Composer Alan Silvestri’s (who also scored Captain America: The First Avenger) score accompanies and accentuates the scale of the film. It is already a huge film with grand action set pieces (Marvel apparently wanted this to be even bigger, scale wise, than Transformers: Dark of the Moon), but the score booms with heroic emphasis (here is an example). His work also captures the more emotional character moments as well – it is a very good film score. Seamus McGarvey’s cinematography is excellent. Again, the scale is enormous and McGarvey’s camera certainly is able to wonderfully present all the action. His work is very crisp and clean (keeping with the aesthetic set out in the first Iron Man film, and carried throughout the series). Amidst all the action, Whedon and McGarvey excel at still capturing the smaller moments too. Production designer James Chinlund does good work as well, upping the scale. Most of his sets are just big areas in which the Avengers get to play. Overall, aesthetically the film is great, but it is the performances and wonderful characters that make this a brilliant film. There are a lot of characters in The Avengers (6 Avengers, 3 S.H.I.E.L.D. agents, Loki, and assorted other characters old and new from the Marvel Studios universe). Gwyneth Paltrow and Stellan Skarsgard are good in their small roles, while Samuel L. Jackson, Cobie Smulders and especially (and maybe surprisingly) Clark Gregg are very good in support. Tom Hiddleston’s Loki is sort of an old school villain stylistically – always monologuing and strutting around. It is great fun. Jeremy Renner’s Clint Barton (Hawkeye) is probably the least exuberant of the Avengers, and that is because he plays the character so well – very reclusive and removed. Unlike most female characters in action adventure films, Scarlett Johansson’s Natasha Romanoff (Black Widow) is never the damsel in distress, and is probably the most put together of any of the characters. She exudes confidence, not because she is a demigod or has super powers or super tech but because she knows exactly what she is capable of and how to approach any enemy or situation. It is a nice change of pace. Chris Hemsworth again owns Thor. He is just rippling with ego and entitlement, but also heart. Mark Ruffalo, working with Whedon, finally gets the Hulk right. He is not just a mindless animal, but the epitome of human rage. Chris Evans as Cap and Robert Downey Jr. as Iron Man serve as sort of the leads in the film. Steve Rodgers take up the mantle of the leader of the Avengers while Tony Stark steals most of the scenes and is completely charismatic, but dramatically they need each other to grow. Downey Jr. is Stark utterly, and is fabulous; but it is Evans that gives the more subtle and maybe better performance.

Summary & score: The Avengers probably should have never worked (just too many lead characters crammed into one narrative), but under the caring craftsmanship of Joss Whedon it is not only extremely entertaining but also a superb film. 9/10

War Horse (2011) – Review

Review: War Horse is a good war drama that plays very much as an anti-war piece. The film centers on a young colt, Joey, and his miraculous story/journey during WWI. Director Steven Spielberg is one of the great war drama filmmakers (with films such as Saving Private Ryan, Schindler’s List and executively producing Band of Brothers and The Pacific). WWI (the Great War) was a grave war that saw millions of young men full of vim and vigor encounter the absolute bleakness of trench warfare (nine million of them killed). All war is awful, but WWI was particularly devastating due to the technological advancement in weaponry but not troop mobility. Thus, soldiers were often ordered to charge across no man’s land against machinegun, mortar and rifle fire. Spielberg captures the sheer fear, bravery and terribleness of war on the front (though he does not dig too deep into emotional or physical destruction). Like other anti-war films (another WWI examples are Joyeux Noel or All Quiet on the Western Front), soldiers on either side are presented as both good and bad (it being more dependent on the individual character), creating a feeling of ‘why are we fighting when we might be friends in another life’, which is quite powerful. Spielberg uses Joey to show characters across the war, allowing the audience to not take sides but rather see both sides of the conflict as human. The scene that sees a German and British work together (and even strike up a friendship) drives the point home. While the film is only PG-13 and thus as not as graphic as it probably should be, Spielberg does not shy away from the emotional toll the war takes on its characters (however, it is still lighter tonally than it could have been) and does not let the audience off easy either – there is a lot of pain in the film, especially for those who invest in the well-done characters. Another triumph for the film is Spielberg’s ability to make a horse a compelling lead character, carrying the film. While there are many human characters, and an argument can be made for Albert, Joey’s friend and owner, as a lead, Joey is the principal lead and the through line. However, this also may be the great flaw of the film. While Spielberg does his best to make Joey compelling and give him personality (which he does), it is still a horse and not relatable for the audience to the same extent as human characters. Joey’s journey through the war is a great adventure, but when it is over the audience still looks to the human characters for emotional cues, as they are who the audience relates to and cares about. Sure, the audience cares about Joey, but to an extent it is in relation to Albert (or whomever he is with at the time). Thus, the film, while powerful due to the gravity of the war, is a bit hollow in terms of true emotional connection. The characters do not stay with the audience once the film ends. Spielberg also has an almost disastrous tonal issue with the narrative. The first act of the film is not very good at all, mostly due to Spielberg playing it tonally like a sappy heartwarming animal drama/comedy – something that does not work at all in the face of what is going to come. It is almost enough to ruin the film, but acts two and three work quite well and Spielberg gets the tone just right for the film he is setting out to make. War Horse is one of the better WWI pieces, and yet another reminder to just how terrible war is (despite the fact that we as people seem to often forget that), but is hampered by its shortcomings.

Technical, aesthetic & acting achievements: Steve Spielberg is the master of emotional manipulation, and he is in top form with War Horse. His gift, however, is that the audience does not feel manipulated, rather they buy in to the emotions that Spielberg would like them to feel at any given moment during his film(s) – it is one of the primary reasons he is the great filmmaker he is and his films the masterpieces many of them are. John Williams delivers yet another wonderful score (Joey’s theme may even make it yet another iconic score; hear it at the end of this excellent piece). It is among the best scores of the year. Cinematographer Janusz Kaminski and production designer Rick Carter do beautiful work, getting the look just right. There are a number of breathtaking photographic moments, and Carter’s design work fully immerses the audience. Williams, Kaminski and Carter continue to do phenomenal work for Spielberg picture after picture. War Horse really only has brief encounters with many of its characters, but many of the actors give very good performances. Patrick Kennedy, Tom Hiddleston and Benedict Cumberbatch do fine work as British cavalry soldiers, portraying the impact and loss of innocence once the violence begins. Niels Arestrup is quite good and powerful as a man who faces nothing but loss in the war. Celine Buckens, in her first role, maybe steals the film playing Emilie – a young girl who still has nothing but hope for the future even in the face of utter devastation and loss. Jeremy Irvine, also a newcomer, is good as Albert. It is his connection with Joey that makes the audience care about Joey and the film work.

Summary & score: There are many fantastic epics and war epics, and War Horse to a degree is one of them, if only for the weaker elements of the film. 7/10