Family Band – Grace & Lies (2012) – Review

Review: Family Band is made up of visual artist Kim Krans and her husband metal guitarist Johnny Ollsin. Their debut album Grace & Lies has a very folky/dreamy and dramatic tone. It is pop music that strikes to the bone (or soul) with its bleak yet enchanting sound. The album is drenched in moodiness and somber wallowing. It evokes sort of a sadness in the listener, as the mind wanders to the darkness. But, Krans’s rich voice guides the listener through. It is a fantastic album that seems to haunt the listener each time. It is well worth checking out. 4/5

Essential Tracks:

1)      Night Song

2)      Ride

3)      Rest

Available on CD and Digital Download

Little White Lies (2012) – Review

Review: Little White Lies (Les petits mouchoirs) is able to touch on almost every emotion as it utterly engages the audience. The film is about a group of friends that takes their annual vacation to the seaside minus one member of the group (Ludo), who was just gravely injured in a car accident. Emotions and tensions are high between the members of the group, as they both deal with the issues in their own lives and the sadness resulting from the state of their friend. Writer-director Guillaume Canet excels dramatically with this film, sculpting fantastic characters that draw the audience in. Ensemble films have multiple challenges – firstly, telling a cohesive story with enough character moments across a big cast to engage the audience and present fully fleshed out characters. Canet does this very effectively by economically giving enough about each character for the audience to completely understand them and where they are coming from. Every character is relatable and fully developed. Nothing feels forced or fake. None of the characters are there merely to forward the plot, which is very rare in ensemble dramas. Even the event of Ludo injuring himself is not what brings the characters together; rather it only heightens the emotional state of the narrative, Ludo’s scene at the beginning serving more as a prologue setting the tone. Thus, the audience completely enthralled with the characters, Canet’s narrative is able to be very funny and then very sad the next moment, dictating the emotions of the audience. The success of the characters is also due to the wonderful performances by the cast and the great writing. The script has a great familiarity to it, as if the audience has known these characters forever. There is also enough diversity among the character stories that each viewer will be able to at least latch on to one in particular, which is important to the narrative’s overall success (the audience really caring about the characters, or at least one specifically). Canet’s shooting style also pulls the audience in and makes them feel as if they were a member of the group with lots of medium shots that often have more than one character in the frame. If there is a weakness in the narrative, it is that the film is very much a slice of real everyday life and not more of an inflated journey. There is nothing wrong with dramas that explore average life, but for some audience members they have an uphill battle fully engaging them. The narrative journey of a character outside their comfort zone is usually the basis for a narrative, and this film does not seem to push these characters outside their normal lives, more so it deals with them addressing their issues. However, again, the skill of the actors and Canet elevate the narrative to be the very compelling piece that it is. Little White Lies is one of the better ensemble dramas in recent memory (similar to Magnolia, L’Auberge espagnole and The Barbarian Invasions).

Technical, aesthetic & acting achievements: Guillaume Canet is a very good actor (as I very much enjoyed his work in Joyeux Noel, Farewell and Last Night), but is becoming an even better writer-director. Tell No One was a great mystery thriller, and Little White Lies is one of the best dramas of 2012 so far (in America at least, as this came out in 2010 in Europe). I am very much looking forward to his next film Blood Ties (his Hollywood debut). The film’s score, consisting mostly of American classic rock favorites, is brilliant and emotionally fits the tone perfectly, while also adding to what the characters feel on-screen. Cinematographer Christophe Offenstein and production designer Philippe Chiffre (both of whom worked on Canet’s last Tell No One) do fantastic work as well. The narrative is steeped in realism, and the design of the film contributes to that, while also filling in character information with the style of the wardrobe and the living space of each character. The photography also presents the narrative as a real life story, as the lighting is fairly straightforward. Yet, Offenstein’s work is also very beautiful, both in its ability to capture the actors’ faces but also the landscapes. The prologue with Ludo, shot entirely in one long take, is brilliant and one of the most artistically compelling cinematic moments of 2012, as well. The performances make the film, however. All the actors are great, but there are a few standouts. Jean Dujardin (coming off his breakthrough in America with The Artist) is wonderful as Ludo. That scene is completely vital and visceral as it energizes and ultimately shocks the audience. Gilles Lellouche and Laurent Lafitte are also very good, often lightening the mood, yet still carrying a lot of the dramatic weight. Benoit Magimel is great in the film as Vincent, a character who is struggling internally with the very question of who he is. He has to play most of it with his face and eyes, and does so very well. Marion Cotillard (as always) is fantastic, playing both comedy (her scene riding the raft is probably the funniest moment in the film) and drama very well. She can completely command the screen. Francois Cluzet steals the film, however. He gets to play more physical comedy and drama than the rest, but still has a deep humanity to his performance.

Summary & score: Ensemble dramas are often shallow peripherally engaging works, but Little White Lies has well developed characters and wholly captivating performances and drama. It is a great ensemble piece. 8/10

Movie of the Week – His Girl Friday

This week’s movie is His Girl Friday (1940).

The romantic comedy is about Hildy Johnson, a reporter who is giving it all up to get married and be a housewife. That is, until her ex-husband and boss Walter Burns comes up with a scheme to win her back both as a reporter and romantically. The film is one of the great screwball comedies by Howard Hawks (his best, though some might say Bringing Up Baby). Hawks worked with veterans of the genre cinematographer Joseph Walker and art director Lionel Banks, as well as stars Cary Grant, Rosalind Russell and Ralph Bellamy. The film has some of the best dialog of any film past or present, with Grant and Russell constantly one-upping and talking over each other (it was one of the first films to feature overlapping dialog, if not the first). What is incredible is that Walter Burns is a wholly unlikable character – utterly selfish in everything he does, and yet Grant plays him with such charm that the viewer wants to see him come out on top. It is one of the best romantic comedies of all-time, and a must-see for fans of the genre. Check out the trailer.

Available on DVD and Streaming

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

Must-See of the Month:

The Master (Paul Thomas Anderson) – Drama – Sep 14

Summary: Freddie Quell, a Naval veteran, returns home after the war uncertain of what to do with his future (and somewhat disillusioned, like many veterans), that is until he is drawn in by The Cause and its charismatic leader Lancaster Dodd (and we promise, any similarities between ‘The Cause’ and Scientology are purely coincidental and not intentional). Filmmakers: The Master is auteur writer-director Paul Thomas Anderson’s sixth film, following possibly his best in There Will Be Blood. He is again working with There Will Be Blood collaborators composer Johnny Greenwood (of Radiohead) and production designers Jack Fisk and David Crank. New to the team is talented newcomer cinematographer Mihai Malaimare Jr. Cast: The film stars Joaquin Phoenix with Philip Seymour Hoffman and Amy Adams co-starring. Jesse Plemons and Laura Dern feature in support. Expectations: Going into the beginning of ‘Awards Season’, The Master is the frontrunner for Best Picture. Critics have showered it with praise after seeing it at an advanced screening over the summer. It is being called a masterpiece, with Paul Thomas Anderson further cementing his place among the ten best directors working right now. In addition to Best Picture, the film is sure to garner acting and writing awards buzz as well. This is not only the must-see film of September, but probably among the five must-see prestige films of 2012. Trailer: Here. Review: Here.

Worth Checking Out:

Looper (Rian Johnson) – Action Sci-Fi – Sep 28

Summary: Joe is a mob hit-man in the year 2072. His targets are sent 30 years into the past were Joe is waiting to execute them. Joe has never failed an assignment. That all changes when then man sent back for Joe to kill is his future self. Filmmakers: Looper is writer-director Rian Johnson’s (an auteur in the making) third film (and if you have not seen his first, Brick, you really should). Johnson is known for his innovative genre mixing. Brick mixes a high school drama with a hard boiled film noir detective narrative, while his second film The Brothers Bloom takes on the con-man narrative, deconstructing it. He is working again with composer Nathan Johnson (his brother) and cinematographer Steve Yedlin for the third time, while blockbuster production designer Ed Verreaux (X-Men: The Last Stand) is new to the team. Cast: Joseph Gordon-Levitt (also a frequent collaborator, starring in Brick and having a brief cameo in The Brother Bloom) and Bruce Willis star, while Emily Blunt, Piper Perabo, Jeff Daniels, Paul Dano, Garret Dillahunt, and Tracie Thoms feature in support. Expectations: Looper looks incredible. It certainly has the potential to be among the best action films of the year, based on what I have seen and the great cast and crew. Plus, Bruce Willis has called it the best film he has ever made (link). Fans of Johnson’s work know what to expect, but for newcomers to his films – Looper should be different from any other action film you have seen (in a very good way). I cannot wait to see this one. Trailer: Here. Review: Here.

Trouble with the Curve (Robert Lorenz) – Drama – Sep 28

Summary: Gus is an ailing baseball scout, probably on his last legs. For his final recruiting trip, he decides to bring along his daughter Mickey in an attempt to reconnect. Filmmakers: While Robert Lorenz is making his directorial debut with Trouble with the Curve, he has been Clint Eastwood’s producing partner and second unit director for over a decade. Plus, he is working with cinematographer Tom Stern and production designer James J. Murakami, both of whom have worked on all of Eastwood’s films during that time. Eastwood is also producing and starring in the film. So essentially, it is an Eastwood film, only this time Lorenz is directing. New to the team, however, is composer Marco Beltrami (The Hurt Locker). Cast: Amy Adams co-stars alongside Eastwood with Justin Timberlake, John Goodman, Matthew Lillard, and Robert Patrick in support. Expectations: Trouble with the Curve has been mostly under the radar so far, but I suspect that if it is good (which is looks to be) it will be in the hunt for Best Picture as well as acting nominations for Adams and Eastwood. I love baseball movies (even when they are Sam Raimi’s For Love of the Game – the sappy romance could not undo just how great of a baseball movie that really is), so I am very enthusiastic about this film. Plus, when Eastwood gets it right, his films are very strong and emotionally powerful. Trailer: Here. Review: Here.

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

Serious Films:

The Words (Brian Klugman & Lee Sternthal) – Drama – Sep 7

Summary: Rory Jansen, a struggling writer, finds a manuscript seemingly lost in time. It is really good. He decides to publish it as his own. Initially, the novel brings him the success he craved, but as time passes he realizes the true price he must pay for stealing another writer’s work. Filmmakers: Writer-directors Brian Klugman and Lee Sternthal make their feature debut with The Words. Previously, they worked on the screen-story for Tron: Legacy. They are working with composer Marcelo Zarvos (The Good Shepherd), talented cinematographer Antonio Calvache (Little Children) and production designer Michele Laliberte (designing her second film, though she has worked in the art department on many films). Cast: The film stars Bradley Cooper (who is still trying to establish himself as a star), and features a good supporting ensemble with Olivia Wilde, Zoe Saldana, Jeremy Irons, Dennis Quaid (who will probably just ham it up, having given up on acting years ago), J.K. Simmons, John Hannah, Zeljko Ivanek, Ben Barnes, Michael McKean, and Ron Rifkin. Expectations: The Words looks like a good drama, dealing with what is usually the tricky narrative structure of multiple intersecting stories. The cast is also strong enough to make the film a compelling rental. Bradley Cooper is sort of on the cusp this year of either making it as a leading man with this film and (more importantly) Silver Linings Playbook in November or falling back into the B-list. Plus, it has been playing to acclaim in its advanced screenings. Trailer: Here.

End of Watch (David Ayer) – Crime Drama – Sep 21

Summary: Officers Taylor and Zavala make a routine traffic stop. Unbeknownst to them, they are pulling over a member of a notorious LA cartel. The find a small cache of money and firearms and confiscate it, thinking they have made the bust of their careers. However, their world begins to crash down around them when they are marked for death by the cartel. Filmmakers: Writer-director-producer David Ayer is the go-to filmmaker for cop crime dramas. He wrote The Fast and the Furious, Training Day, Dark Blue, S.W.A.T., and directed Harsh Times and Street Kings. He has a very gritty style, which should be even more on display with End of Watch as it is being done as a ‘found-footage’ style film. He is working with composer David Sardy (Zombieland), Russian cinematographer Roman Vasyanov and production designer Devorah Herbert (who also designed Harsh Times). Cast: Jake Gyllenhaal and Michael Pena star with Anna Kendrick (who is one of the great young actresses right now), America Ferrera, Cody Horn, Frank Grillo, and David Harbour in support. Expectations: Generally, I have enjoyed Ayer’s work (especially Harsh Times and Training Day) and look forward to End of Watch, which also features a good cast. Found-footage films have found their place in mainstream filmmaking, allowing directors to pull their audience in by presenting the material in a very realistic manner. It has worked well for comedy and action this year with Project X and Chronicle. I am interested to see how Ayer uses it to really draw the audience in on this crime drama/thriller. Based on what I have seen, it looks like it will be very engaging (particularly if you like cop centric dramas). Trailer: Here. Review: Here.

The Perks of Being a Wallflower (Stephen Chbosky) – Drama – Sep 21

Summary: Charlie is an introvert freshman who has never really fit in. This life is changed when two seniors, Patrick and Sam, take him under their wing and introduce him to the real world. Filmmakers: Novelists do not often convince Hollywood executives to let them write and direct the film adaptation of their own novel, but that is what Stephen Chbosky did with The Perks of Being a Wallflower. However, he does have a background having created the loved cult series Jericho and writing and directing The Four Corners of Nowhere in 1995 (which no one has seen). Perks is really his commercial feature debut though. He is working with composer Michael Brook (The Fighter), cinematographer Andrew Dunn (Crazy, Stupid, Love.) and production designer Inbal Weinberg (Our Idiot Brother). Cast: Logan Lerman stars with Emma Watson (looking to establish herself outside of the Harry Potter franchise) and Ezra Miller co-starring. Paul Rudd, Nina Dobrev, Dylan McDermott, Mae Whitman, Melanie Lynskey, Kate Walsh, Nicholas Braun, Johnny Simmons, Reece Thompson, Julia Garner, and Erin Wilhelmi feature in support. Expectations: From what I have seen, The Perks of Being a Wallflower looks like it is going to be a good coming-of-age high school drama. While we will have to wait and see how Chbosky does as a director, the film has a fantastic young cast – particularly: Lerman, Watson, Dobrev, Simmons, Thompson, and Miller (who was brilliant in We Need to Talk About Kevin). Garner and Wilhelmi are also highly touted new talents. Plus, the film features Paul Rudd who is always wonderful. This has the potential to be the best teen drama of the year that really connects with its audience and a sleeper box office hit (and maybe even be this generation’s The Breakfast Club, Dazed and Confused or Garden State). Trailer: Here. Review: Here.

Wont’ Back Down (Daniel Barnz) – Drama – Sep 28

Summary: Two mothers do whatever it takes to stand up against the bureaucracy to make a change for the better at the failing inner city school their children attend and to make a difference for the future of education. Filmmakers: Writer-director Daniel Barnz is back for his third feature. His debut, Phoebe in Wonderland, was fairly well received, but his second feature, Beastly, is awful. He is working with composer Marcelo Zarvos (who is also scoring this month’s The Words), cinematographer Roman Osin (who did phenomenal work on Pride & Prejudice) and production designer Rusty Smith (who worked with Barnz on Beastly). Cast: The film stars Maggie Gyllenhaal and Viola Davis, with Holly Hunter, Ving Rhames, Oscar Isaac, Rosie Perez, Lance Reddick, and Bill Nunn in support. Expectations: Won’t Back Down honestly looks like a Lifetime movie-of-the-week, but with heavy hitting acting talent like Viola Davis (who probably could have/should have won Oscars for The Help and Doubt) and the feel-good inspirational material this sort of feels like it might greatly overachieve (even garnering awards buzz). Education is an important topic, as the public school system in America, especially in poorer areas, is failing to an overly depressing degree, and maybe this film will help to make a change. Trailer: Here.

Action/Adventure:

The Cold Light of Day (Mabrouk El Mechri) – Action Thriller – Sep 7

Summary: Will Shaw, a young successful Wall Street trader, finds his life thrown into peril after his family is kidnapped while on a sailing trip in Spain leaving him to be pursued by the people responsible who are looking for a mysterious briefcase they now believe he has. Filmmakers: Director Mabrouk El Mechri’s last film was the fantastic JCVD (if you are a Jean-Claude Van Damme fan and you have not seen this, you should). He is working with composer Lucas Vidal (The Raven), cinematographer Remi Adefarasin (who did fabulous work shooting The Pacific and Band of Brothers for HBO) and production designer Benjamin Fernandez (Man on Fire). Cast: Henry Cavill (who is looking to become an A-lister) stars, while Bruce Willis and Sigourney Weaver co-star. Expectations: The Cold Light of Day does not look like much more than a forgettable action thriller, which is too bad, as I did enjoy JCVD (but mostly because Van Damme is brilliant in it and the opening shot is hilariously wonderful). For action fans, maybe this is worth a rental, but for most of us this is probably one to skip. Trailer: Here.

Resident Evil: Retribution (Paul W.S. Anderson) – Action Horror – Sep 14

Summary: Like the other movies, Alice continues her fight against the Umbrella Corporation while having to deal with lots of zombies and other creatures (and yes, this is in 3D). Filmmakers: Writer-director-producer Paul W.S. Anderson is back yet again having directed the first Resident Evil and Resident Evil: Afterlife as well as producing and writing all of the four previous films. He is known for making entertaining action films that lack deeper substance. He is again working with composers tomandandy and cinematographer Glen MacPherson, while production designer Kevin Phipps (Ghost Rider: Spirit of Vengeance) is new to the team. Cast: Milla Jovovich is back as Alice, as well as many of the actors from the film series – Sienna Guillory, Michelle Rodriguez, Oded Fehr, Kim Coates, Iain Glen, Ali Larter, Spencer Locke, Wentworth Miller, James Purefoy, Eric Mabius, Colin Salmon, and Boris Kodjoe. New to the cast is Kevin Durand. Expectations: While I did enjoy the first film in the series and was very much looking forward to the second, the sequels have been lackluster (if not flat out bad) promoting spectacle above character and truly thrilling moments that draw the audience in and really scare them. The film series does not resemble the tone of the video games at all, as it has become completely soulless. Yet, that said, the films still have some charm in their escapist entertainment, and there is some beauty to the grand choreography that goes into the elaborate action set pieces. Retribution, the fifth film, will probably not be that great, but will likely be equally entertaining as the others. Trailer: Here.

Dredd 3D (Pete Travis) – Action Sci-Fi Thriller – Sep 21

Summary: Judge Dredd is a cop, in a violent futuristic society, who is also entrusted with the roles of judge, jury and executioner (tagline!). He teams up with a young trainee to take down a gang pushing the reality-altering drug SLO-MO (which, incidentally, makes the taker’s perspective of life slow down immensely, allowing for tons of slow-motion 3D antics on the part of the filmmakers). Filmmakers: Director Pete Travis’s past feature work is not overly impressive, as his two previous films are the average Vantage Point and Endgame. However, he did also direct the very good miniseries The Jury. Writer-producer Alex Garland, though, is a perfect fit for the film, having also penned 28 Days Later…, Sunshine and Never Let Me Go. In addition to Garland, Travis is working with producer Andrew Macdonald (friend and longtime partner of Danny Boyle and Garland) composer Paul Leonard-Morgan (Limitless),one of  the best digital photographers (and pioneer) right now Anthony Dod Mantle (127 Hours) and production designer Mark Digby (Slumdog Millionaire). Cast: Karl Urban stars with Olivia Thirlby and Lena Headey co-starring. Expectations: While Pete Travis has not yet given us a great film, he is working with a phenomenal team (Danny Boyle’s team) which at the minimum should give the film a great aesthetic and feel. Also, there are rumors that Travis was fired from the film due to creative issues and that Garland worked on the final cut. Dredd 3D is the remake of the awful Judge Dredd that none of us knew we needed or even wanted, but it received acclaim from fans after its screening at Comic-Con in San Diego earlier this year. The film is being called violent, gritty and dark by critics, which for the most part enjoyed it. From what I have seen, the film looks like an action thriller comprised of brutality and visual beauty set against a grim dystopia. I am actually looking forward to seeing it (something I never thought could be possible after the sheer horridness of Sylvester Stallone’s version – court’s adjourned). Trailer: Here.

Comedy:

Hotel Transylvania (Genndy Tartakovsky) – Comedy – Sep 28

Summary: Dracula, wanting a place of peace and quiet for his monster buddies, created and operates a high-end resort in Transylvania. There he lives, happily, with his daughter Mavis. However, as Mavis comes of age, she wants to see what else there is in the world, which is only made worse by a human coming across the resort and falling for Mavis. Filmmakers: Animator Genndy Tartakovsky makes his feature directorial debut with this film, though he has directed many episodes of our favorite animated shows (things like Star Wars: Clone Wars, Samurai Jack, Dexter’s Laboratory, and The Powerpuff Girls). He is working with composer Mark Mothersbaugh (Rushmore) and production designer Marcelo Vignali. Cast: The film features voice-acting from Adam Sandler (who is also executively producing), Selena Gomez, Steve Buscemi, Kevin James, Andy Samberg, David Spade, Fran Drescher, Jon Lovitz, Molly Shannon, and CeeLo Green. Expectations: Hotel Transylvania is essentially an Adam Sandler movie – as it stars him and all his friends (plus Selena Gomez so kids will recognize at least one person’s name in the credits) as well as being written by longtime collaborator Robert Smigel, and as we all know Sandler does not make good movies anymore (unless he is working with Judd Apatow). That said, this does look marginally funny and could be an okay film to share with your kids (especially if, like me, you still find Sandler funny, even though you know the jokes are bad – I may even have just talked myself into renting this). Trailer: Here.

Horror:

House at the End of the Street (Mark Tonderai) – Thriller – Sep 21

Summary: Elissa and her mother move to a new town, taking up residence next to a house in which a young girl murdered her parents. However, Elissa still meets and befriends the girl’s brother Ryan who still lives there. But, things are far from over, as Elissa soon learns. Filmmakers: Director Mark Tonderai has his first feature to be distributed, as his first film, Hush, went straight to video. He is working with composer Theo Green (who also scored Hush), cinematographer Miroslaw Baszak (The Bang Bang Club) and production designer Lisa Soper (The Day). Cast: The film stars Jennifer Lawrence, with Elisabeth Shue and Max Thieriot co-starring. Expectations: In all likeliness, House at the End of the Street does not see distribution (being purchased by Rogue Pictures) if not for the huge success of The Hunger Games, and thereby Jennifer Lawrence’s swift ascension onto the A-list. It looks like a fairly generic thriller, but Lawrence is one of the great young actresses right now and could elevate it. At best though, this is probably a rental. Trailer: Here.

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

Art-House Dramas:

Liberal Arts (Josh Radnor) – Dramedy – Sep 14

Summary: Jesse returns home for his college professor father’s retirement party. While wandering the campus, he meets Zibby, an undergrad, and begins to fall for her. Now, he must address with the powerful attraction that is developing between them while dealing with their age difference (he is his mid-thirties and her in her early-twenties). Filmmakers: This is the second feature from writer-director-producer Josh Radnor (or as you know him: Ted Mosby, architect), following Happythankyoumoreplease (which was decent). He is again working with cinematographer Seamus Tierney and production designer Jade Healy. New to the team is composer Ben Toth. Cast: Radnor also stars in the film (like he did with his first feature) along with Elizabeth Olsen (looking to star in another good film to build off her great work in the solid Martha Marcy May Marlene). Richard Jenkins, Allison Janney, Elizabeth Reaser, Michael Weston, and Zac Efron make up the supporting cast. Expectations: Liberal Arts looks like a better film than Happythankyoumoreplease, but still along the same thematic lines – focusing on relationships and the complexity of them while also trying to find the positives in life. Much like his character Ted on How I Met Your Mother, Radnor’s work seems to have a sort of intellectual romanticism about it. I think this will be well worth renting for fans of indie dramedies. Trailer: Here.

Art-House Comedies:

Bachelorette (Leslye Headland) – Comedy – Sep 7

Summary: Becky is getting married. She enlists Gena, Katie and Regan to be her bridesmaids. The problem is they are not really her friends, having continuously ridiculed her in high school. Thus, the planning of the wedding becomes more about Gena, Katie and Regan and their issues than Becky. Filmmakers: First-time writer-director Leslye Headland makes her feature debut with the film. Previously, she was a staff writer on the short-lived but excellent series Terriers. She is working with producers Adam McKay and Will Ferrell, cinematographer Doug Emmett (Damsels in Distress) and production designer Richard Hoover (Temple Grandin). Cast: It stars Lizzy Caplan, Isla Fisher and Kirsten Dunst, with Rebel Wilson, James Marsden and Adam Scott in support making up a great comedic group. Expectations: Yes, Bachelorette does look a lot like Bridesmaids, but who was not expecting more comedies starring women specifically along the same lines as Bridesmaids (honestly I am surprised one did not come about sooner). That said, this does look quite funny and maybe a little darker than Bridesmaids. It is well worth checking out (though probably as a rental). Plus, it is one of the independent films to venture into video-on-demand (VOD) before being released theatrically (you can watch it right now here through Amazon), which could change the landscape of indie cinema. Trailer: Here.

10 Years (Jamie Linden) – Comedy – Sep 14

Summary: A bunch of friends reconnect for their 10-year high school reunion. Filmmakers: 10 Years marks writer-director Jamie Linden’s feature debut, having also written the screenplays for Dear John and We Are Marshall. He is working with composer Chad Fischer (Garden State), cinematographer Steven Fierberg (Entourage) and production designer Kara Lindstrom (Everything Must Go). Cast: The ensemble cast features Channing Tatum (who is also producing), Jenna Dewan-Tatum, Chris Pratt, Lynn Collins, Kate Mara, Rosario Dawson, Justin Long, Ari Graynor, Anthony Mackie, Aubrey Plaza, Oscar Isaac, Ron Livingston, Scott Porter, and Max Minghella. Expectations: 10 Years probably went from straight-to-video to a theatrical release thanks to the big year Channing Tatum is having (thank you 21 Jump Street and Magic Mike). Though, the cast is fairly impressive with lots of young talented B and C-listers. The narrative of a reunion is fairly played out, and this does not look that much more than a by-the-numbers clichéd drama/comedy within the thematic range of its narrative construct, but with all the acting talent it very well may be enjoyable and worth renting. Trailer: Here.

Lawless (2012) – Review

Review: Lawless is an engaging gritty crime drama wrapped up in an American tall-tale. The film is about three Bondurant brothers, bootleggers in Great Depression era Virginia, who find themselves in a fight for survival when a government agent, Charlie Rakes, comes to eradicate them from their way of life. Director John Hillcoat does a great job with the crime drama aspect of the film. It is appropriately violent, while also including the iconic character archetypes and imagery of the era – particularly: gangsters using tommy guns (as seen in visually splendid scene of local gangster Floyd Banner laying waste to a rival). Hillcoat gets the tone and the grittiness of the era just right. Throughout, the film is visually brilliant, as the greatest care has been given to the set design, costume design and the perfect locations for the story. However, where the narrative goes a bit off track is between whether this is a gritty crime drama about bootleggers or an American legend about a family of brothers who seem to be immortal. The ton is conflicting between these two elements (which both play large roles in the narrative). The legend about the brothers, specifically Forrest, being invincible works within the construct of the crime drama to an extent, but Hillcoat takes it a bit too far leaving the film feeling a bit hokey. Almost as if Hillcoat is portraying the story of the Bondurants (a true story) as one of America’s tall-tales (like John Casey or Paul Bunyan). Jack’s voiceover narration mixed with the (all wrapped up in a nice bow) epilogue clashes with the meat of the narrative, being the gritty struggle for survival. Hillcoat has folklore slamming up against realism mixing messages and confusing how the audience should feel about the narrative and the characters. The performances are very strong, and Hillcoat gives the characters lots of moments allowing the audience to connect with them and take a stake in the outcome, but all this seems to be devalued by the narrative not having a fluid constant tone. Plus, the epilogue sort of flies in the face of classic gangster narratives (which following Jack the youngest Bondurant, who is the story’s lead character, is otherwise similar to classic gangster narratives detailing his rise and fall), pandering to focus groups who want everything to be okay in the end. Again, it is based on a true story, and thus certain facts (though, often changed in film adaptations) seemingly need to be preserved. Thus, if the Bondurants are that of legend and folklore, why not keep the tone lighter and completely buy into this as being like a tall-tale instead of making it very violent and steeped in realism only to have that sort of be thrown into question in the minds of the audience by a varying tone. All that said, Lawless is still a good drama, with the shifting tone really only serving as a minor issue (holding it back from being great), built on almost complete brilliance from the cast and crew.

Technical, aesthetic & acting achievements: John Hillcoat, while clearly very gifted visually and in his ability to get great performances from his actors, seems to still struggle with aspects of his narrative’s structure. The Road has poor pacing (for example) and this has contradictory elements keeping his films from being great, instead of merely just being good. Composers Nick Cave (who also wrote the film) and Warren Ellis provide a score that both enriches the visual environment and extenuates the emotional depth of the film. Cinematographer Benoit Delhomme does fantastic work as well, visually capturing the era beautifully while also both paying homage to classic gangster films with his imagery and giving the film its own visual identity (often using darkness juxtaposed to daylight to create menace – like the shootout in the bridge or Howard coming from inside the house to attack the sheriffs). Production designer Chris Kennedy, however, does probably the film’s best work, as his overall design and especially his sets are so richly textured. The cast is very good overall, drawing the audience in. Dane DeHaan, Mia Wasikowska and Gary Oldman (who selfishly I wish was in more of the film) are all wonderful in support. Jessica Chastain is very good, playing a Chicago floosy of sorts looking for a different life. Guy Pierce is creepy and strange as Charlie Rakes (he has become one of the great current character actors). Jason Clarke is brutish and simple as Howard Bondurant. Tom Hardy steals every scene he is in (and the film) as Forrest. His presence commands attention. Shia LaBeouf is decent in the film (though maybe slightly miscast). He is eager and naïve at first but weighs the consequences of his actions.

Summary & score: As a big fan of gangster films, I was not disappointed in Lawless, as it is a solid crime drama with great performances and visuals, but it also a tad corny. 7/10

Movie of the Week – There Will Be Blood

This week’s movie is There Will Be Blood (2007).

The drama is about Daniel Plainview, a turn-of-the-century oil man whose lust for greed, competitive spirit and hatred for fellow man leads to a confrontation with a small-time religious figure, Eli Sunday, whose church sits in the town of Little Boston and whose patrons have land under which there is tons of oil that Plainview wants to get at. The film is the fifth from writer-director Paul Thomas Anderson (and probably my favorite of his, though I do also really like Magnolia). It has some of the best aesthetics of any recent film, with a magnificent score by Jonny Greenwood, Oscar winning cinematography from Robert Elswit (though, Roger Deakins could have won for The Assassination of Jesse James by the Coward Robert Ford and No Country for Old Men or Seamus McGarvey for Atonement too, as their work is also brilliant) and great production designer from Jack Fisk (giving it a Terrence Malick feel). Daniel Day-Lewis stars giving an incredible performance (probably one of the five greatest performances of the decade), and Paul Dano is good in support. Ciaran Hinds is also good in a small role. While there is an element of a western tone to the film, it mostly plays as a platform for two great characters to clash. Typically in a narrative, the protagonist will go on a journey that changes him or teaches him something, but here with Plainview he just becomes more entrenched in his own mania (which is great for us, the viewers, as it is utterly compelling). In many ways the film reminds me of Stanley Kubrick’s Barry Lyndon. It is a must-see for fans of P.T. Anderson and brilliant character performances. Check out the trailer.

Available on Blu-ray, DVD and Streaming

Rick Ross – God Forgives, I Don’t (2012) – Review

Review: Rick Ross is having a great 2012. His mixtape Rich Forever is solid. His Maybach Music posse album Self Made: Vol. 2 has some good stuff on it. And, his fifth solo album, God Forgives, I Don’t, is probably his best album to date. Like Teflon Don and Deeper Than Rap, this album is packed with guest appearances. Ross has his Maybach Music crewmates Wale, Stalley, Meek Mill, Omarion, as well as pop and hip hop’s biggest talents like Drake, Usher, Ne-Yo, Andre 3000, and Dr. Dre and Jay-Z on a good track entitled 3 Kings. Unlike Teflon Don however, Ross is not overshadowed by all the features. Here, Ross has some of his best rhymes and deliveries (building off the great work he did on Rich Forever). God Forgives, I Don’t also is excellently produced and really engaging musically. Ten Jesus Pieces has one of the best musical accompaniments of 2012. For Ross fans, this is an album very much worth picking up, and for commercial hip hop fans this also certainly worth checking out as it is one of the better releases this year. 3/5

Essential Tracks:

1)      Ten Jesus Pieces – Produced by J.U.S.T.I.C.E. League, featuring Stalley

2)      Pirates – Produced by Kenoe and Got Koke

3)      Diced Pineapples – Produced by Cardiak, featuring Wale and Drake

Available on CD and Digital Download

The Expendables 2 (2012) – Review

Review: The Expendables 2 is a gratuitously violent film, almost comically so, made for the entertainment of fans of 1980s/90s action films and their stars. The film is about a group of mercenaries lead by Barney Ross who are hired to retrieve a delicate item from a plane crash in hostile territory. When the mission goes wrong and a team member is killed, the team turns their sights on revenge. Director Simon West basically only cares about portraying the action in the most entertaining and even fun manner as possible. Sure, there are some characters moments (or attempts at them), but they only sort of work and serve more the purpose of giving the audience a break from the aggrandized action set pieces. The story, too, is not really important. It just puts the characters in motion so they can shoot at lots of stuff and blow up lots of stuff and murder (what seemed like thousands of) bad guys in gruesome ways. For viewers that only somewhat like violent films, do not like them at all, or even only medium like them this is not the film for you. This is only for viewers who love action films, and to that point – action films that are only about the action and extreme violence (stuff like most of the pure action films of the 80s and early 90s, and this may even be more absurd than any of those). As a film, this is entertaining (though, I do enjoy action films to a degree, growing up with these actors and their films), but also is maybe a bit too much. There is so much killing and brutality that it loses all meaning and the viewer becomes completely desensitized, which is not really a good thing, as really films should strive to interact with their viewers and make them feel something real. This is not possible here, unless you hate violence and feel utter disgust towards this film (but then why are you seeing it in the first place when it is very clear what this is going to be going in). All the action gets a little tiresome, because it is all sort of meaningless. However, the film’s saving grace is the likability of the action stars (we all know) and the fun they are having in the film – bantering, throwing around references to their past franchises and making jokes at the expense of themselves (and their age). The charisma of these action stars is what makes the film work. It is okay for films to be mindless entertainment (be it action, comedy, thriller or whatever), but they are never going to be great. The Expendables 2 is mindless entertainment (mind numbing entertainment at that) that is enjoyable, but again it was never going to be great.

Technical, aesthetic & acting achievements: Simon West specializes in action, and this is probably one of his most entertaining films to date. What he does well is capture the right tone for the film. The Expendables 2 feels light and fun, but still has enough dramatic weight (giving the good guys a sense of morality, so that the audience gets behind them organically instead of merely supporting them because they are the presented as the protagonists) to give it a hint of seriousness (though all the murder in the opening scene sort of countermands any seriousness as it is fairly ludicrous). Composer Brian Tyler, cinematographer Shelly Johnson and production designer Paul Cross all get what the film is supposed to be, and their work goes into supporting West and the film’s tone. The film is filled with glorified visual staples of the genre, and it all works. Cross has probably the standout work of the bunch, however, with his fantastic Soviet Base set replicating a section of New York. As stated above, it is the film’s stars that really make The Expendables 2 fun. Dolph Lundgren and Terry Crews (unsurprisingly) have some of the best side-kick material, while Jason Statham, Jet Li and Bruce Willis are good too. Liam Hemsworth is not very good in the film. His dramatic scenes are clunky and forced, and he just feels out of place in general. Nan Yu, also new to the team, is somewhat awkward, but still works overall. Her chemistry with Sylvester Stallone is one of the better things in the film. Chuck Norris shows up, seems out of place, but makes maybe the best joke of the film (him being there is nothing more than a novelty). Jean-Claude Van Damme is a decent villain, and the sheer nostalgic aspect of his appearance is great. Arnold Schwarzenegger just commands the screen whenever he is on it. He sort of steals the movie. Stallone is good as well, playing the tough as nails soldier of fortune who looks back on his life with regrets but cannot do anything else.

Summary & score: You get exactly what you expect and what you want with The Expendables 2: a fun and entertaining highly violent action film filled with all the stars you love from the 1980s and 1990s (plus Jason Statham). 6/10

Movie of the Week – Mean Creek

This week’s movie is Mean Creek (2004).

The drama is about a bunch of teens that decide to get even with a local bully, inviting him along on a boat trip in rural Oregon with a plan of vengeance. The film is the feature debut from writer-director Jacob Aaron Estes (someone I thought had a very bright future when this came out, but has yet to have another film picked up). He worked with composer tomandandy, cinematographer Sharone Meir and production designer Greg McMickle. The film has a very naturalistic approach, which works really well with the subject matter and impact of the drama. The young actor are also wonderful. It features Rory Culkin, Ryan Kelley, Scott Mechlowicz, Trevor Morgan, Josh Peck, and Carly Schroeder. Thematically, it is similar to Larry Clark’s Bully and Gus Van Sant’s Elephant, but not as graphic. Mean Creek is all the more tragic as it does not start out as a mean spirited film or with the intention of going dark – but things just do not go the way they are planned for the characters taking them down a dark path. It beautifully portrays realistic teenage characters – naïve, innocent and yet still with the capability of immense cruelty. While there is a clear bully character that the rest of the characters want to get back at, things are never that simple, as delving deeper into the characters and narrative reveals that many of the characters are both bully and victim depending on the circumstances. The film is quite powerful as it addresses morals, coping with tragedy and other adult issues forced on teens (many of them very young). It is one of the best truly indie dramas of the past decade. It is well worth checking out for fans of good dramas. Check out the trailer.

Available on DVD and Streaming