Essential Songs of 2012: Part 9 – Music Spotlight – October 2012

Artist: Alicia Keys Song: Girl on Fire (Inferno Remix) Producer(s):  Jeff Bhasker and Salaam Remi Featuring: Nicki Minaj Album: Girl on Fire

Artist: Atoms for Peace Song: Default Producer(s): Thom Yorke Featuring: N/A Album: N/A

Artist: Ben Folds Five Song: Do It Anyway Producer(s): Joe Pisapia Featuring: N/A Album: The Sound of the Life of the Mind

Artist: Big Sean Song: 100 Producer(s): Don Cannon Featuring: Kendrick Lamar, Royce da 5’9” and James Fauntleroy Album: Detroit Mixtape

Artist: Calvin Harris Song: Sweet Nothing Producer(s): Calvin Harris Featuring: Florence Welch Album: 18 Months

Artist: Cassie Song: Balcony Producer(s): Rico Love Featuring: Young Jeezy Album: King of Hearts

Artist: Danny Brown Song: Grown Up Producer(s): Party Supplies Featuring: N/A Album: N/A

Artist: Kanye West Song: To the World Producer(s): Pop Wansel Featuring: R. Kelly Album: Cruel Summer

Artist: Mount Eerie Song: I Walked Home Beholding Producer(s): Phil Elverum Featuring: N/A Album: Ocean Roar

Artist: Rick Ross Song: 3 Kings Producer(s): Jake One Featuring: Dr. Dre and Jay Z Album: God Forgives, I Don’t

TV Series of the Month – The Sopranos

This month’s TV series is The Sopranos (1999-2007).

The modern crime drama is about Tony Soprano, a New Jersey mob boss who suddenly has feelings that cause him to have panic attacks. Fearing that this could be taken as weakness putting his life in danger, he seeks the help of a therapist in secret – where he must work through personal and business related issues to get at the root cause of his attacks. Airing on HBO for six seasons, the series was created by David Chase (a veteran TV writer who also created the short-lived series Almost Grown; he is currently set to release his first feature Not Fade Away). In addition to Chase, the show had a fantastic writing staff, highlighted by Terence Winter (creator of Boardwalk Empire) and Matthew Weiner (creator of Mad Men). The show has a brilliant cast, making a star out of lead James Gandolfini. The series also starred Edie Falco, Lorraine Bracco, Michael Imperioli, Dominic Chianese, Tony Sirico, Robert Iler, Steve Van Zandt, Jamie-Lynn Sigler, Drea de Matteo, Aida Turturro, and Steve Schirripa, and an impressive guest list including Steve Buscemi and Joe Pantoliano. This is one of the shows that changed television for the better (along with things like Buffy the Vampire Slayer and Freaks and Geeks), ushering in the current golden age (in which TV is better than cinema). The Sopranos is a must-see for all fans of great dramas, but especially those that love crime dramas and gangster films. The writing and characters are wonderful, and still among the best ever on TV. Check out the trailer.

Available on Blu-ray, DVD (the complete series) and Streaming

Movie of the Week – The Battle of Algiers

This week’s movie is The Battle of Algiers (1966).

The drama details the bloodiest uprising in modern history – the FNL revolts against the colonialist French government for a free Algeria. The film is written and directed by Italian filmmaker Gillo Pontecorvo (who also worked on the score). Pontecorvo’s background is mostly in documentary filmmaking, which accounts for the film’s very realist feel – as if all the action is be shown in a series of newsreels or footage shot on the day during the actual events (it seems so real that there is even a title card at the beginning telling viewers that none of the footage is newsreel or documentary). He worked with composer Ennio Morricone, creating wonderful and memorable musical accompaniment (here is a clip – which you may also recognize from Inglourious Basterds). Pontecorvo also worked with frequent collaborators cinematographer Marcello Gatti and production designer Sergio Canevari. The cast is mostly made up of unknown actors, but Jean Martin has a principal role. The Battle of Algiers has served as a major influence on how gritty war/political dramas have been filmed ever since, and many filmmakers. It is also politically relevant today – even being screened in the Pentagon for officers and civilian experts regarding Iraq (“How to win a battle against terrorism and lose the war of ideas”). It is a must-see for fans of political dramas and war films. Check out the trailer.

Available on Blu-ray, DVD and Streaming

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

Must-See of the Month:

Argo (Ben Affleck) – Political Drama/Thriller – Oct 12

Summary: When the Iranian revolution reaches its boiling point leading to attacks on the American embassy, a number of American embassy employees go into hiding, fearing for their lives. A CIA exfiltration specialist Tony Mendez comes up with a risky (and somewhat hair-brain) plain to get them out safely (based on a true story). Filmmakers: Ben Affleck’s directing career is going really well. He is one of the most respected in the field right now with his first two features Gone Baby Gone and The Town both being very well received (The Town being both a critical and commercial hit). Thus, fans and critics alike have been hyped for Argo. Affleck is working with great people in composer Alexandre Desplat (providing music for every good movie in the last three years – joking aside, this guy works a ton and delivers excellent scores), cinematographer Rodrigo Prieto (Brokeback Mountain) and production designer Sharon Seymour (did Affleck’s first two films as well). Cast: He also has a fantastic group of actors (including himself in the lead): Bryan Cranston, Taylor Schilling, John Goodman, Philip Baker Hall, Tate Donovan, Chris Messina, Kyle Chandler, Clea DuVall, Alan Arkin, Zeljko Ivanek, Titus Welliver, Victor Garber, Rory Cochrane, Scoot McNairy, Michael Parks, Kerry Bishe, Richard Kind, Tom Lenk, and Keith Szarabajka. Expectations: The great cast and Affleck’s track record as a director are enough to make this the must-see of this month (which, honestly, is a weak month overall). Critics liked the film, heralding it with positive reviews after it played the Toronto Film Festival (where it also was 2nd place for the People’s Choice Award). Argo looks like a great period political thriller that also has deft humor. It is definitely worth checking out. Trailer: Here. Review: Here.

At the Movies – October 2012 – Part 2: Hollywood Films

Serious Films:

Cloud Atlas (Tom Tykwer, Andy Wachowski & Lana Wachowski) – Sci-Fi Drama Mystery – Oct 26

Summary: The epic is about how actions of individuals impact the lives of others across time. Filmmakers: Writer-directors Tom Tykwer and the Wachowskis have made films that are loved among many fans (Tykwer’s Run Lola Run and the Wachowskis’ The Matrix), but those films were primarily made in the late 1990s, with their recent work being subpar. Thus, this film is sort of a comeback project for the directors. They are working with composers Reinhold Heil, Johnny Klimek and Tykwer (making up the band Pale 3, composing for most of Tykwer’s films but also outside work like One Hour Photo), cinematographers Frank Griebe (Run Lola Run) and John Toll (Braveheart) and production designers Hugh Bateup (art director of The Matrix Trilogy) and Uli Hanisch (worked on Tykwer’s recent films) – making up a big crew for a massive film. Cast: The ensemble features Tom Hanks, Hugo Weaving, Hugh Grant, Jim Sturgess, Susan Sarandon, Halle Berry, Ben Whishaw, Keith David, Xun Zhou, Jim Broadbent, James D’Arcy, and Doona Bae. Expectations: Cloud Atlas looks highly ambitious and visually amazing. The thing about highly ambitious art is that it often does not work and even more often is very polarizing. However, if it does work, it is usually something of brilliance. Critics are mixed on whether this film works or not after seeing it at the Toronto Film Festival – almost split on whether it is a good or bad film. However, there is no denying the potential this has to be one of the great films of the year (and maybe the decade). Trailer: Here. Review: Here.

Chasing Mavericks (Michael Apted and Curtis Hanson) – Sports Drama – Oct 26

Summary: Mythic Mavericks surf break, some of the biggest and most dangerous waves on Earth, nest a mere miles from Santa Cruz, the home of Jay Moriarty. Jay has to go in on these waves. So, he befriends local legend Frosty Hesson with the hope he will train him. Filmmakers: The directing team of Michael Apted and Curtis Hanson (both talented in their own right – Apted directing Coal Miner’s Daughter and Hanson L.A. Confidential) seems unlikely, but they share credit as Hanson left production due to health reason and Apted finished the final three weeks of shooting. They worked with composer Chad Fischer (Garden State), cinematographers Oliver Euclid and Bill Pope (who is maybe the best action D.P. right now, he shot The Matrix and Spider-Man 2 for example) and production designer Ida Random (No Strings Attached). Cast: Newcomer Jonny Weston stars with support from co-star Gerard Butler, Elisabeth Shue, Abigail Spencer, and Leven Rambin (who you might recognize from The Hunger Games as Glimmer). Expectations: Sports dramas are often very formulaic and clichéd. But, this has a pair of very good directors behind the camera which should elevate it. I think this is probably worth renting for fans of sports dramas. Trailer: Here.

Action/Adventure:

Taken 2 (Olivier Megaton) – Thriller – Oct 5

Summary: Former CIA agent Bryan Mills is on vacation in Istanbul with his wife and daughter. Four years ago, he killed a number of men rescuing his daughter from kidnappers. Now, the father of one of those men he killed is out for revenge. Filmmakers: Writer and producer of Taken Luc Besson is back in those roles, however this time he has chosen director Olivier Megaton from his stable to helm the film. Megaton directed other action films for Besson: Transporter 3 and Colombiana (neither is very good, putting it lightly). Megaton is working again with composer Nathaniel Mechaly and cinematographer Romain Lacourbas, as well as newcomer production designer Sebastien Inizan. Cast: Returning are stars Liam Neeson, Maggie Grace and Famke Janssen. New to the series is Rade Serbedzija. Expectations: Taken 2 is probably an unnecessary vehicle with the purpose of capitalizing on the success of the original. That said, it does look really good. I like that Grace gets to be in on the action this time (based on the trailer), and Istanbul is a beautiful city and should make for a fabulous backdrop. Fans of Taken are going to like this one too (as it essentially looks like the same thing). Trailer: Here.

Comedy:

Frankenweenie (Tim Burton) – Family Comedy – Oct 5

Summary: Victor’s dog Sparky has died, but that is not going to stop him. He constructs a machine to bring him back to life. But, as with everything, there are unintended consequences. Filmmakers: Remaking his own short, director Tim Burton is behind the camera working with frequent collaborators screenwriter John August (Dark Shadows), composer Danny Elfman (Batman) and production designer Rick Heinrichs (Sleepy Hollow), while cinematographer Peter Sorg makes his debut. Cast: The film features voice-acting from Martin Landau, Christopher Lee, Martin Short, Robert Capron, Conchata Ferrell, Catherine O’Hara, and Winona Ryder. Expectations: Tim Burton’s best venture into stop-motion animation is The Nightmare Before Christmas (directed by Henry Selick). His other animated films are among his lesser work. Frankenweenie also feels sort of disappointing because Burton is one of the more visionary directors (or at least he was) and now he seems to be content in just rehashing the same old stuff again (especially aesthetically). His recent work has also been subpar to his best (and I really gave Dark Shadows a chance). Thus, this is probably a rental at best (unless your kids really want to see it in theatres). Trailer: Here.

Pitch Perfect (Jason Moore) – Music Comedy – Oct 5

Summary: Beca is a freshman at Barden University, just trying to blend in and get through school. However, she is courted by her roommate to join the all-female singing group The Bellas as they take on their campus rivals (an all-male group). Beca is hesitant at first, but is eventually worn down and joins, finding that she not only enjoys singing but also has something to add to the group. Filmmakers: Director Jason Moore makes his feature debut, having directed televisions dramas (like Everwood and Dawson’s Creek) in the past. He is also an acclaimed Broadway director. He is working with composers Christophe Beck (The Muppets) and Mark Kilian and cinematographer Julio Macat (Wedding Crashers). Cast: Anna Kendrick stars with Elizabeth Banks (who is also producing), Rebel Wilson, Christopher Mintz-Plasse, Brittany Snow, Alexis Knapp, Adam DeVine, Anna Camp, and John Michael Higgins in support. Expectations: At first glance, Pitch Perfect looks a lot like season three of Glee (which also brings to mind the brilliant episode of Community poking fun at Glee – Regional Holiday Music). Yet, there is something more here. Watching the trailer, I feel strangely compelled to see it. Maybe it is the film’s sneakily great cast – actors like Anna Kendrick (one of the great young stars right now), Rebel Wilson, Chris Mintz-Plasse, Adam DeVine (who some will know from Workaholics), and Anna Camp. Maybe it is my love of musicals (even when they become banal like Glee has, which I still watch). Whatever it is, I actually am looking forward to seeing this when I rent it, as it looks like a fun mix of comedy and music. Trailer: Here.

Butter (Jim Field Smith) – Comedy – Oct 5

Summary: In a small town in Iowa, nothing is bigger than butter carving. Laura Pickler dominates the event at each year’s annual contest. However, this year, a young adopted girl, Destiny, might just rival her. Filmmakers: Jim Field Smith is back for his second feature, following up the decent comedy She’s Out of My League. He also directed the second season of Episodes. He is working with composer Mateo Messina (Juno), cinematographer Jim Denault (worked with Smith on She’s Out of My League) and production designer Tony Fanning (Youth in Revolt). Cast: It stars Yara Shahidi and co-stars Jennifer Garner (also producing), while boasting a great comedic supporting group with Phyllis Smith, Rob Corddry, Ty Burrell, Kristen Schaal, Alicia Silverstone, Ashley Greene, Hugh Jackman, and Olivia Wilde. Expectations: Butter does have a great cast and a seemingly fun quirky premise, but the fact that it has been delayed multiple times makes me think that it is probably not very good. Test audiences would tend to agree with buzz being on the low end of mixed. Still, this might be worth renting for fans of comedies. Trailer: Here.

Seven Psychopaths (Martin McDonagh) – Crime Comedy – Oct 12

Summary: Oddball petty criminals/grifters get wrapped up in a caper far out of their depth after they kidnap the wrong Shih Tzu. Filmmakers: Writer-director Martin McDonagh made one of the best films (that hardly anyone saw) of 2008 with In Bruges. He is back with his second feature (much to everyone’s excitement). He is working with a fantastic group: composer Carter Burwell (who scores most of the Coen Brothers’ films), cinematographer Ben Davis (Kick-Ass) and production designer David Wasco (Inglourious Basterds). Cast: The ensemble stars Colin Farrell, Abbie Cornish, Sam Rockwell, Woody Harrelson, Christopher Walken, Olga Kurylenko, Zeljko Ivanek, Tom Waits, Kevin Corrigan, and Gabourey Sidibe. Expectations: I liked In Bruges a lot and this seems to be perfectly cast, but there is something off in the trailer that makes me hesitant to think that this will be great. It honestly only looks okay. I hope to be pleasantly surprised and proved wrong. Critics have been positive, seeing the film early, but not overly so. That said, even if you miss this in theatres, it is probably well worth adding to your rental queue (along with In Bruges). Trailer: Here.

Here Comes the Boom (Frank Coraci) – Action Comedy – Oct 12

Summary: The economy is bad. This causes a bankrupted school to cut all extra-curricular activities. However, dedicated biology teacher Scott Voss has a plan to raise the money to save these programs. He will win money as a mixed-martial arts fighter. Filmmakers: Remember those classic Adam Sandler movies you use to love? The director of this, Frank Coraci, directed some of those: The Wedding Singer and The Waterboy (and more recently Click). He also directed Zookeeper (his first collaboration with Kevin James). He is working with composer Rupert Gregson-Williams (scored Zookeeper as well), cinematographer Phil Meheux (shot Around the World in 80 Days for Coraci) and production designer Perry Andelin Blake (frequent collaborator). Cast: In addition to co-writing and producing, Kevin James stars (because Sandler passed) with Salma Hayek, Reggie Lee, and Henry Winkler in support. Expectations: Happy Madison Productions’ feature films have not been good at all lately (the last five were: Just Go with It, which is probably by far the best of the bunch, Bucky Larson: Born to Be a Star, Zookeeper, Jack and Jill, and That’s My Boy) so I do not have much optimism for Here Comes the Boom. Really, you would be better off just renting Warrior or watching it on Netflix streaming to get your MMA fix (or the underrated Redbelt). Trailer: Here.

Fun Size (Josh Schwartz) – Comedy – Oct 26

Summary: Wren likes a guy. He is throwing a massive Halloween party – the perfect chance for her to get to know him better. That is all thrown up in the air however, when she gets stuck watching her strange little brother. What can she do? Apparently, the answer to that is to lose him while tick-or-treating and spend the night on an adventure to find him. Filmmakers: Josh Schwartz is making his directorial debut with this film. However, he is a well-known TV writer/producer having created The OC, Chuck and Gossip Girl. He is working with cinematographer Yaron Orbach (Our Idiot Brother) and production designer Mark White (Winter’s Bone). Cast: Nickelodeon star Victoria Justice makes her broader debut as the lead in this (though, it is a Nickelodeon production, making me think there is no way it will be rated R, which is probably too bad). Jane Levy, Thomas Mann, Johnny Knoxville, Kerri Kenney, Chelsea Handler, Riki Lindhome, and Ana Gasteyer feature in support. Expectations: Fun Size seems like a mix of an out-of-control party movie (like Project X from earlier in the year) and a nostalgic 1980s style suburban adventure film (like Adventures in Babysitting or its crappier modern update The Sitter) – probably a 20/80 mix. As a fan of both Adventures of Babysitting and Project X, I am looking forward to renting this as it looks like a fun and entertaining comedy. Trailer: Here.

Horror:

Sinister (Scott Derrickson) – Horror Thriller – Oct 5

Summary: Ellison is a true-crime novelist. His latest fascination comes in his research into finding out why the family who previously lived in his house was murdered. The deeper he digs the more he comes to realize that he is dealing with a supernatural entity, putting his family in danger. Filmmakers: This is the third feature from writer-director Scott Derrickson. He had a horror hit in 2005 with The Exorcism of Emily Rose, but his second film was the ill-conceived remake The Day the Earth Stood Still. But, he is back to horror now, working with composer Christopher Young (who did the awesome score to Sam Raimi’s Drag Me to Hell), cinematographer Chris Norr and production designer David Brisbin (work on Derrickson’s past two features as well). Cast: The film stars Ethan Hawke. Vincent D’Onofrio, James Ransone and Fred Thompson are in support. Expectations: Sinister looks like it might actually be a very scary thriller (for once). The advanced screenings have yielded positive buzz. This might be the scary movie to see for Halloween. Trailer: Here. 

At the Movies – October 2012 – Part 1: Independent Films

Art-House Dramas:

The Paperboy (Lee Daniels) – Thriller – Oct 5

Summary: Jack Jansen is a young reporter with high aspirations. He returns to his hometown to dig deeper into the case of death row inmate Hillary Van Wetter. Filmmakers: Writer-director Lee Daniels is coming off his breakthrough hit with 2009’s Precious. He is working with composer Mario Grigorov (who also scored Precious), cinematographer Roberto Schaefer (Marc Forster’s D.P.) and production designer Daniel T. Dorrance (Max Payne). Cast: Zac Efron stars with a good supporting cast including Matthew McConaughey (his latest role in his 2012 comeback tour – Bernie, Magic Mike, Killer Joe, and later this year Mud), Nicole Kidman, John Cusack (who, despite how big of a fan of his I am, sadly does not make good movies anymore), Scott Glenn, David Oyelowo, Macy Gray, and Ned Bellamy. Expectations: The Paperboy was one of the most highly anticipated films of 2012 among fans of independent films, in the wake of the success of Precious. However, now that people have seen this, the buzz is much more lukewarm than positive (I mean, how good was a film starring Zac Efron really going to be anyway). The cast is good(ish), and McConaughey is having a great year, so this is probably worth renting for fans of indie thrillers or the actors. In its defense, it was an official selection of the Cannes Film Festival. Trailer: Here.

Wuthering Heights (Andrea Arnold) – Romance – Oct 5 [limited]

Summary: Based on the classic Emily Bronte novel, the story is about Heathcliff, a poor boy of unknown origins who is taken in and cared for by the Earnshaw family. He begins to develop an intense relationship with his young foster sister Cathy, leading to pain and anguish. Filmmakers: Writer-director Andrea Arnold is well known in British independent film having won an Oscar for her short Wasp and writing and directing two features: Red Road and Fish Tank (which is excellent). She is working with frequent collaborators cinematographer Robbie Ryan and production designer Helen Scott. Cast: It stars newcomer James Howson and Kaya Scodelario (from Skins). Expectations: Arnold’s take on Bronte’s work seems to have a very gritty and sort of documentary style to it – hand held cameras, natural lighting, low production value, unknown actors (for the most part) – yet still done in the period of the novel. It is a new take on a story that is re-worked at least once a year in some form. I am excited to rent it (especially coming off of how good Fish Tank was). Trailer: Here.

V/H/S (Multiple Directors) – Horror – Oct 5

Summary: A group of misfits is hired by an unknown entity to break into a house and steal a rare VHS tape. However, they discover more than they even bargained for leading to terrifying experiences for each of them. Filmmakers: This is sort of a deconstruction of the modern stylistic found-footage horror film, thusly many indie horror directors are involved (nine in total) including Matt Bettinelli-Olpin, Tyler Gillett, Justin Martinez, Chad Villella (the four of them form the group Radio Silence), David Bruckner, Glenn McQuaid, Joe Swanberg, Ti West (who also directed the fantastic indie ghost story The Innkeepers earlier this year), and Adam Wingard. Cast: The film stars many of its filmmakers and lesser known actors. Expectations: V/H/S is probably a must-see for horror fans (especially of indie horror films) as it has garnered rave reviews among its intended audience. But, for everyone else, this might be worth a look if you want to see something cool and different (and scary). Trailer: Here.

The House I Live In (Eugene Jarecki) – Documentary – Oct 5

Summary: A detailed look at America’s criminal justice system, specifically the ‘war on drugs’ and how it has affected American culture and society. Filmmakers: Documentarian Eugene Jarecki writes and directs the film, working again with frequent collaborator composer Robert Miller. Expectations: Jarecki is one of the great documentary filmmakers working today (his masterwork so far is Why We Fight, but Reagan and The Trials of Henry Kissinger are both very good too), which should make The House I Live In mandatory for fans of documentaries. Based on what I have seen, the film looks very interesting. Trailer: Here.

Smashed (James Ponsoldt) – Drama – Oct 12 [limited]

Summary: Kate and Charlie have been happy together, sharing a mutual love of alcohol. However, things change and their marriage is put to the test when Kate decides to get sober. Filmmakers: Indie writer-director James Ponsoldt is back with his second feature after Off the Black. Both his films deal with alcoholism. He is working with composers Andy Cabic and Eric D. Johnson (Our Idiot Brother), cinematographer Tobias Datum (Terri) and production designer Linda Sena (Wristcutters: A Love Story). Cast: Mary Elizabeth Winstead and Aaron Paul star with support from Octacia Spencer, Nick Offerman, Megan Mullally, Mary Kay Place, Kyle Gallner, and Bree Turner. Expectations: The premise of the film sort of reminds me of the short Successful Alcoholics. Smashed has been well-received on the festival circuit, winning the Special Jury Prize as the 2012 Sundance Film Festival. It has two fantastic leads, both looking for breakthrough roles to advance their careers in film. The supporting cast is also strong. This is definitely worth seeing in theatres or renting for fans of dramas (with some comedy mixed in). Trailer: Here.

The Sessions (Ben Lewin) – Drama – Oct 19

Summary: Mark O’Brien is a virgin. He would like not to be. The problem is he is in an iron lung. However, with the help of his therapist and priest, he contacts a professional sex surrogate to address his problem. Filmmakers: Writer-director Ben Lewin has been working since the 1970s, but this is his highest profile film to date. He is working with composer Marco Beltrami (Trouble with the Curve), cinematographer Geoffrey Simpson (Shine) and production designer John Mott (Jericho). Cast: The film stars John Hawkes with support from Helen Hunt, William H. Macy, Moon Bloodgood, W. Earl Brown, Adam Arkin, and Robin Weigert (totaling three Deadwood alumni). Expectations: The Sessions (having gone through multiple title changes) was a crowd favorite at the 2012 Sundance Film Festival, winning both the Audience Award and the Special Jury Prize for ensemble acting. That said, it has not fared quite as well with other audiences, playing to mixed reviews. The cast is good, and give very good performances, so this is probably worth seeing or renting for fans of character dramas. Trailer: Here.

Art-House Comedies:

The Oranges (Julian Farino) – Dramedy – Oct 5

Summary: Two neighboring suburban families have always been friends. That is, until the daughter of one family stars having an affair with the husband of the other. Filmmakers: TV director Julian Farino (who has directed episodes of a lot of HBO shows, including a large portion of Entourage) returns to features with this film. He is working with composers Klaus Badelt and Andrew Raiher (Heartbreaker), cinematographer Steven Fierberg (Entourage) and production designer Dan Davis (How to Make It in America, which Farino also directed a large portion of). Cast: Leighton Meester, Hugh Laurie, Catherine Keener, Allison Janney, Alia Shawkat, Adam Brody, and Oliver Platt make up the ensemble cast. Expectations: The Oranges has a good cast with dramatic and comedic talent, and really this is the reason to rent this – to just enjoy the performances. The film has played to mixed reviews in its advanced screenings, but again should make for an entertaining rental for fans of family dramedies. Trailer: Here.

Looper (2012) – Review

Review: Looper is an inventive genre blending sci-fi film that relies more on its great characters than its impressive stylized action. It is about Joe, a contract killer for the mob – only he works for them thirty years in the past, as they send targets back in time for him to kill. When Joe’s future self is sent back, he is startled and lets him escape. Now, to get his life back, he must hunt down and kill his future self.

Writer-director Rian Johnson is known for his genre blending (especially with his first film Brick). With Looper, it is a lot more nuanced. On the surface the film has very much a sci-fi style, reminiscent of Blade Runner and Akira, taking place in a future dystopian society in which the disparity between the classes is so profound that there are roaming hordes of homeless (known as ‘vagrants’), but underneath there are a lot of elements that feel like a western, both story wise and visually – things like: the bad guys wear black (particularly when the gatmen pick up Old Joe, they look like villains in a western with their trench coats and black hats), much of the film takes place on an isolated farm/ranch with characters waiting for the final shootout and one of the characters is a gunslinger of sorts called Kid Blue (named after the 1973 western). From a narrative standpoint, the western elements stem from the showdown between Joe and Old Joe, each representing a fundamental way of life (Old Joe is experienced and fights for what he cares about, while Joe has his life in front of him and is fighting for his time/his future). Westerns often focus on the confrontation of old and new (the changing of the west – the film is also set primarily in Kansas which is one of the gateways to the west; the boundary between the Wild West and the civilized east). There are also a number of standoffs in the film – a visual and narrative staple of westerns. Yet, the film is primarily made up of sci-fi and action beats and touchstones (it is about time travel after all).

Structurally, Johnson has to spend a lot of time explaining how his future works, how time travel works, what a Looper is – yet, the first act is very good, despite all the business and exposition to get through. Johnson achieves this by placing voiceover narration over visuals of a typical day in Joe’s life. By doing this, the audience gets all the story elements they need to know while also getting a sense of who Joe is – economic storytelling at its best, only to be topped by one of the best montage's in film history displaying Joe's transition into Old Joe. However, Johnson also changes the pace of the film, as most of the film is continually moving forward like a typical action film until Joe gets to the farm, and then things slow way down allowing for the characters to be developed and for the audience to really take a deeper stake in Joe, as the tension builds toward a final showdown. This change of pace, however, does leave the middle feeling a little slow, juxtaposed to the quick action beats and economical storytelling that proceeds it.

The characters and their arcs are probably the strongest aspect of the film. Johnson does a wonderful job playing with the audience’s perception of them. Joe and Old Joe seem to take turns being the protagonist and antagonist. In most films, characters are fixed (for the most part) in their roles in the narrative, but here Johnson continually twists the audience’s expectations and anticipations. This works well as the characters feel much more dynamic and interesting – in not knowing quite who to root for, the audience ends up caring about both Joe and Old Joe. The supporting characters are also rich and compelling (especially Sara, Abe and Kid Blue).

Visually, the film is also fantastic and highly stylized. Johnson specifically cares about every camera move, every cut, every piece of mise en scene – essential every frame. Without its hip and flashy style, the film would just not be the same. Johnson’s dystopia is sort of a retro-future, as if the economy failed and manufacturing stopped. There are futuristic visual elements (like the hoover bike) and recognizable products from today (like most of the cars). The change is more sociopolitical than technological. The main sci-fi visual touchstone comes in the form of the massive bleak city that seems to consume and dwarf everything around it (similar to Blade Runner’s Los Angeles). There are also a few gadgets. It is more in the narrative that the more classic sci-fi elements are present.

Despite the slight pacing issue, Looper is very entertaining and cinematically exciting due to its lush characters, striking visuals and overall brilliance of Johnson’s vision and script. To say it simply, it is just a cool and refreshingly different film (it gave me the same feeling as last year’s Drive).

Technical, aesthetic & acting achievements: Rian Johnson, now three films in, is definitely one of the most exciting young filmmakers (and potential auteur). His writing and visual style is completely fresh as he twists, subverts and mixes genres and genre archetypes. I very much look forward to his future work (as I have high aspirations for him and his projects). Looper is his most accessible film (in terms of mass audience appeal) and probably his best to date (though, Brick is great as well).

Nathan Johnson’s score is unique in its sound, providing the film with its sci-fi tone. It is very interesting and avant-garde (listen to it here). Steve Yedlin’s cinematography seems to heighten the reality of each environment with stylized lighting. It is great work. Ed Verreaux’s production design is brilliant, and among the best work I have seen this year. The overall look of the film has a very collapsed society feel to it, but not totally destroyed as if things went bad and then people learned to live within the new world and moved on. The sets are wonderfully dilapidated and adapted.

The performances, much like everything in the film, are stylized and specific. Garret Dillahunt, Jeff Daniels, Paul Dano, and especially Noah Segan are very good in small roles. Newcomer Pierce Gagnon is surprisingly good as Cid. Emily Blunt plays the typical desolate female ranch owner (in westerns) who the stranger comes across (only Johnson twists it). She plays Sara to be strong yet very empathetic (she sort of reminded me of Sarah Conner in the first Terminator). Bruce Willis is very good in the film, playing his ‘tough guy’ routine with more of an emotional measure (he really lets the audience in). Joseph Gordon-Levitt is also very good as he essentially has to play a younger version of Willis, capturing the mannerisms and so on. However, their Joes differ in how they view themselves and what they want, and in this their performances feel individual.

Summary & score: Looper is captivating, as it has great action set pieces, compelling characters and a cool style, but it is the film’s inventiveness and originality that makes it special. 8/10 

The Perks of Being a Wallflower (2012) – Review

Review: The Perks of Being a Wallflower is a charmingly sincere and humorous yet emotionally charged high school drama. The film is about a troubled freshman, Charlie, starting his first day of high school. He has no friends and feels invincible. That is, until two seniors Sam and Patrick take him under their wing and introduce him to a new world, bringing about both good and bad emotions in Charlie.

High school dramas and comedies have been done well in the past (things like Freaks and Geeks, Rebel Without a Cause and for most of us: the films of John Hughes, among others). With The Perks of Being a Wallflower, writer-director Stephen Chbosky has captured both the good parts (hanging out with friends, young love and having your whole life in front of you) and the anguish (being an outsider, being bullied and the emotional development of our teenage years) of the high school experience. And, like most high school films, he has approached the topic with a protagonist that is not one of the cool kids. Charlie is emotionally fragile and even unstable (having been in treatment following the suicide of his best friend), but he is generally a very nice and innocent guy. Using Charlie as the audience’s window, Chbosky explores high school in a much different way than viewers are use to – in that, Charlie is not just interested in girls, sports and other pursuits that drive typical high school students. All he really wants are friends, and more specifically people he can connect with so he does not have to feel so alone. Being alone causes him to overthink everything in his life, which leads him back towards his destructive behavior (as it did after his friend’s suicide). Thus, Charlie approaches life from a very sincere and naïve place, making the seemingly more mundane experiences feel fresh, grand and even funny. The audience cares about Charlie, even though he may come from a place somewhat foreign to them, because there is a piece of him that they all can relate to – be it him being an outsider, having his first love (or crush) or finally finding a place where he feels comfortable. If anything, this is a film about Charlie coming into his own (much like a coming-of-age story).

Chbosky is also not afraid to take on the more difficult and darker subjects that teens face with his narrative (the film somewhat reminds me of It’s Kind of a Funny Story in this manner, but this has much more of an impact on the viewer). In doing so, he puts an emotional strain of the audience, as he has done such a great job of relating Charlie to the audience and making them care about him. His supporting characters are also well drawn and complex. The emotional drama builds throughout, and while Chbosky does defuse a lot of it with humor for the first three-fourths of the film he does not shy away from allowing the film to have a strong emotional impact on the audience. The character journeys (specifically Charlie, Patrick and Sam’s) mean something to the audience. Chbosky is not intimidated by a general feeling that audiences and studios seemingly just want fun and entertaining teen movies. His characters feel real, with hopes and dreams – and most importantly flaws and important struggles that they try to overcome, struggles that the audience can take stock in and feel something about. This is not just another throwaway high school film. This has something important to say about being at that stage in life and those experiences. And hopefully, taking on the darker and difficult subjects and getting the audience to care will help change the way people treat others in the future (to not bully others, not use people, not push people to the edge where they feel like there is no escape, not treat people abhorrently because they might be different, and not turn your back on someone in need just to save face or because it is easier).

There is also a nostalgic aspect to the film. Not just in the time period, though that does come through in the great soundtrack, but to the wonder and excitement of being young, when everything is new. Again getting back to Charlie as the protagonist, his innocence gives the audience almost a pure and fresh way to relive some of those experiences, while still having the nostalgia of remembering their own similar experiences in comparison. It is this part of good teen films that seems so appealing – the going back. And yet, Chbosky has a lot of pain here too to go with the joy, pain that most of us can relate to as well in some way.

Structure wise, Chbosky has veered away from most high school and teen films. At first this seems like a film about making friends and finding love (a bit like Mitch’s journey in Dazed and Confused), but then it delves much deeper into the characters and their more rooted issues. Thus, structurally the film seems like it has different sections, rather than being just one flowing narrative. Yet, Chbosky manages to keep the audience’s attention, even when switching dramatic focus, by keeping the narrative character driven. While most teen films are about a character or characters trying to accomplish something, this film is about the characters just being, and the issues and happiness they have – their coming to understand a deeper truth about themselves.

The Perks of Being a Wallflower is one of the more dramatically heavy teen films (especially one targeted at teens). Though, it still has enough wonderful humor to keep things light enough for the audience to breath. It is the first great teen drama/comedy for this decade.

Technical, aesthetic & acting achievements: Stephen Chbosky’s shooting style for the film is mostly straightforward (in terms of an indie drama) with a few stylish choices to fit the tone. Really, his film is about the performances and the characters, and in this he has done an excellent job capturing great work. I look forward to what he does next.

Michael Book’s score works well emphasizing the tone and emotions of the film, though it is the soundtrack that steals the show (stuff like The Smith’s Asleep, while Cracker’s Low felt very nostalgic – I just remember listening to that song a lot in the summer of 1994 watching the World Cup). Andrew Dunn’s photography and lighting are fantastic. The camera is intimate at times and detached in others, mirroring the feelings of the characters. Production designer Inbal Weinberg’s also does fine work. The color scheme of the film seems to play an active role in the emotional make-up of the characters, while the sets play toward the more general themes in the film – being inviting and foreign when need be (for example: the set for Sam’s bedroom seems like a perfect fit for Charlie to feel comfortable, just as he is in love with her, while the school halls where he is often bullied feel very desolate).

The power of the film, however, is built from Chbosky’s great script and the very good performances he has garnered. There are a lot of young actors in the film. Among the supporting players, Johnny Simmons, Nina Dobrev, Adam Hagenbuch, and Erin Wilhemi all are good in their small roles. Mae Whitman, also in a small role, steals a few scenes and is fantastic. Paul Rudd is very charming and likable (as always). Emma Watson plays Sam, Charlie’s crush. She portrays the character to be very much the girl the audience falls for (relating with Charlie), but also gives her depth and dramatic weight. Ezra Miller is brilliant in the film, giving one of the year’s best performances playing Patrick. He is electric, pulling focus towards himself in every scene he is in (this, building off of last year’s We Need to Talk about Kevin, is a star-making turn). Logan Lerman is great as Charlie, as well (giving probably the best performance of his career to date). He brings just the right amount of shyness, awkwardness and innocence to really draw the audience in before delving deeper into his issues.

Summary & score: The Perks of Being a Wallflower draws the viewer in with its humor, wonderfully developed characters and compelling performances, only to emotionally engage them with weighty drama. 8/10

Movie of the Week – The 400 Blows

This week’s movie is The 400 Blows (1959).

The drama is about Antoine, a young boy who is misunderstood and without true caring parents. He quits school and runs away from home in an attempt to live his own life, turning to petty crime to make money. As one of the best examples of the French New Wave, it is written and directed by Francois Truffaut (I also highly recommend Jules and Jim and Day for Night). Truffaut takes his camera to the streets, so to speak, shooting on location in Paris giving the film a vibrant realistic feel. He worked with composer Jean Constantin and cinematographer Henri Decae on the film, and Jean-Pierre Leaud stars. While The 400 Blows might not seem like something worth seeing for general movie fans, it being black and white, subtitled and somewhat arty. It is one of the films that has greatly influenced many of your (and mine) favorite current filmmakers (like Wes Anderson). It is also a timeless story of a boy trying to find his place in the world, something we can all connect with. This is a must-see for fans of the French New Wave and those looking to have a strong working knowledge of the best films in cinema history. Check out the trailer.

Available on Blu-ray, DVD and Streaming