Captain Phillips (2013) – Review

Review: Captain Phillips is an intense and realistic-feeling thriller. The film is about the true story of Captain Richard Phillips, the Captain of a U.S. cargo ship that is taken hostage by Somali pirates.

Director Paul Greengrass is known for his documentary-like directing style: shaky handheld camera work, gritty realistic feel, natural lighting, and naturalistic acting. His style is again employed to great effect in Captain Phillips. If nothing else, the film feels very realistic (with really only Tom Hanks’s presence separating it from feeling like a documentary – seeing Tom Hanks, a huge movie star, almost takes the audience out of it, but thankfully Hanks is quite good in the film).

The camera is constantly right in the mix of the action, giving the audience the impression that they are right there with Phillips, a hostage themselves. And to this degree, Greengrass builds up a fair amount of tension that feels unrelenting. The audience is never given a chance to really breathe. Every time it seems like things will be alright, the stakes are only ratcheted up to a higher rung. Greengrass does not provide a release until the credits role. This is quite a feat for a film in which the audience knows how it ends coming in. And yet, it also in a way works against the narrative’s overall pacing. While Greengrass has created a perfect tone and look for the film, the perpetual stress that the audience feels for the second two acts is almost too much and even feels a bit tedious. Audiences need moments of release throughout, typically, for a thriller to maintain its hold for an entire narrative.

The issue here with Captain Phillips is that there simply is not enough time. There film’s runtime is already 134 minutes, which leaves almost no time for lighter moments to juxtapose the tense moments against. Basically, the film is structured primarily just to tell the story of the pirates taking the ship and the immediate aftermath and resolution. The film does not have much character development or the time to create a fuller feeling narrative.

The lack of character development does not seem like a big issue in the moment, because Greengrass keeps things moving and the tension high. The audience is essentially on the edge of their seats from the time the pirates board the ship until the end, but not because they are invested in the characters rather it is the aesthetic style that has pulled them in. However, aside from the audience’s interest in seeing the narrative resolved, there is not much else to keep them interested in the film besides seeing the ploy resolved.

Phillips is not really developed much more than being a typical ship Captain who worked hard to get where he is, worries about his kids, and takes his duties seriously. Even more grievous, though, is the lack of development of the pirates. Greengrass shows the audience that they live in squalor with warlords forcing them to work, but it all feels superficial. He just does not have the time to really dig into what drives these men. The audience never really cares about these men, even though there are greater forces seemingly extorting them, causing them to choose this life (left with no other option). They are very interesting characters, but the audience is not really given much, and the film even seems to simply vilify them (when that just feels like too easy an answer, despite its attempts to show the story from both sides). Thus, Phillips is left as the only hero, but without much development, it is up to Hanks’s performance and charisma to draw the audience to his side (and he is up to the task). It feels like Greengrass wanted there to be an interesting dichotomy between the opposing sides, each with their valid motivations for why they do what they do, he just did not have enough time or could not structure the main drama efficiently enough to fit it all in.

In many ways, Captain Phillips is a film that works in much the same way as Zero Dark Thirty, but it succeeds to a much lesser degree because unlike Zero Dark Thirty, the film never quite creates a powerful and compelling lead character (which I almost think should have just been Muse, as his dramatic arc is far more compelling). Plus, the story, while interesting, just does not have the same initial grab as Zero Dark Thirty’s narrative, thus character development is even more vital and thusly missed to a greater extent.

However, despite its faults, Captain Phillips is still undoubtedly a strong thriller (especially on its initial viewing). Greengrass pulls the audience in with his brand of gritty realism and then just lets the suspense mount and mount.

Technical, aesthetic & acting achievements: Paul Greengrass changed the way Hollywood makes action thrillers with the aesthetic style with which he shot his Bourne films. However, he is maybe even a better filmmaker when recreating true stories as dramatic features. Bloody Sunday and United 93 are probably his strongest films, and Captain Phillips is very much in the same vein. It is too bad that he could not have included more character moments (as I think the film could have been incredible).

Henry Jackman combines industrial and tribal influences to create a fantastic score that complements the drama and tension within Captain Phillips. It also does a good job setting the tone for the film. Cinematographer Barry Ackroyd is a frequent collaborator with Greengrass (having shot United 93 and Green Zone). Their work together really perfects Greengrass’s aesthetic shooting style on this film. Many have complained that Greengrass’s camera often feels overly shaky (seemingly for no reason), but here everything comes together to create a genuine feeling of realism. Again, the audience feels like they are right in the middle of the action. Paul Kirby’s production design compliments this realism as well. His sets and design look and feel very authentic.

The cast, mostly made up on unknown actors, feels honest – in many cases the performances feel as if they are being done by people who do these jobs in real life. Francine Maisler’s casting is phenomenal, especially in her finding the actors playing the four main Somali pirates. Catherine Keener plays Phillips’s wife, but I assume her role was initially much larger as she appears in what is essentially a cameo in the first act without really anything to do. Michael Chernus, Mahat M Ali, Faysal Ahmed, and Barkhad Abdirahman are all good in smaller supporting roles. Barkhad Abdi really emerges as a potential breakout star with his performance as Muse. Despite his small stature, he comes across as being very intimidating, and he is able to convey the pain and deeper struggle that he is experiencing as he is trying to lead his men to a good result (aka them garnering money for their hostages). Tom Hanks is also very good in the film. He has just enough charisma to get the audience on his side (plus, he is the innocent party). His fear feels genuine which translates to the audience, making the tension all the more palpable.

Summary & score: Captain Phillips succeeds as a good thriller because of director Paul Greengrass’s aesthetic style. It is a gripping narrative film that feels real. 7/10

Justin Timberlake – The 20/20 Experience, 2 of 2 (2013) – Review

Review: Following his highly commercially successful album The 20/20 Experience, Justin Timberlake decided to release more tracks from his recording time with Timbaland and J-Roc (Jerome Harmon) as his fourth studio album calling it The 20/20 Experience – 2 of 2 (and he may have recorded some new stuff too).

Overall, the album sounds and feels a lot like its predecessor, which was expected, but on a track-by-track basis it is much weaker, as it seems clear that many of these songs were not quite album-quality leftovers from Timberlake’s initial 2013 release. And, the issues that plague The 20/20 Experience are also very apparent here as well. Namely, many of the tracks are just over-indulgent, over-long, and frankly boringly generic. Although, Amensia, one of the longer tracks on the album, is probably the best song on the album. It showcases Timberlake at both his sensual and pop-music best. The radio-friendly singles Take Back the Night and TKO also mark a large improvement on Suit & Tie, though neither is quite as strong as Mirrors.

Collaboration wise, the album again sees a pointless verse from Jay-Z and a song featuring Drake, who also really adds nothing. The album is again fully produced by Timberlake, Timbaland, and J-Roc who work well together, but again many of the tracks just go on too long and/or feel/sound like leftovers.

The album is still probably a worthwhile endeavor for fans of Timberlake. For pop music fans, however, a wiser strategy might be to just cherry pick a few of the stronger tracks, as the album as a whole is weighed down great by all the bloated material. 2/5

Essential Tracks:

1)      Amnesia – Produced by Timbaland, Justin Timberlake & J-Roc

2)      Take Back the Night – Produced by Timbaland, Justin Timberlake & J-Roc

3)      TKO – Produced by Timbaland, Justin Timberlake & J-Roc

Available on: Digital Download

Movie of the Week – The Man Who Would Be King

This week’s movie: The Man Who Would Be King (1975).

This story of friendship follows Daniel Dravot and Peachy Carnehan, two British soldiers in India who decide to leave the army and embark on an adventure to Kafiristan. It is a land in which no white man has stepped since Alexander the Great. In such a land, these two common men could be kings, if not deities.

The film is written and directed by the great Hollywood filmmaker John Huston. He is also responsible for such wonderful films as The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, and The African Queen. The Man Who Would Be King, however, is his last great film and the best of his later years (of note as well: he took a strong supporting role in Chinatown around the same time he made this). Huston worked with excellent composer Maurice Jarre (whose score for Lawrence of Arabia is one of cinema’s best), cinematographer Oswald Morris, and production designer Alexandre Trauner.

The cast is also fantastic. Sean Connery and Michael Caine star, and have great chemistry together. Christopher Plummer and Saeed Jaffrey feature in support.

Based on a story by Rudyard Kipling (the great British poet), The Man Who Would Be King is an exceptional buddy film. Connery and Caine work so well together, making the adventure they undertake an enjoyable cinematic experience with fun action and comedy. And, they are both strong actors as well, enabling the film to also play as a good drama. The film has become somewhat forgotten in time, but it is well worth looking up for fans of Connery, Caine, Huston, and/or adventure films.

Trailer: Here

Available on: Blu-ray and Video On-Demand

Pusha T – My Name Is My Name (2013) – Review

Review: Pusha T, previously of the duo Clipse (everyone should listen to Hell Hath No Fury) with his brother No Malice, has garnered a ton of anticipation for his major label solo debut My Name Is My Name. Ramping up to this album, Pusha dropped the excellent mixtapes Fear of God and Wraith of Caine in addition to the EP Fear of God II: Let Us Pray, as well as some strong verses on G.O.O.D. Music’s Cruel Summer.

My Name Is My Name feels different than what fans have come to expect from most current mainstream hip hop. Much like Kanye West’s Yeezus, it is raw, angry, and biting. But unlike Yeezus, Pusha T’s flows and persona feels much more connected to the streets. He is known as the king of the coke-rap, and on My Name Is My Name Pusha spends a lot of time reflecting on his past slinging white. The album plays like testimonial – a man looking back on his past with mixed emotions. However, Pusha also announces himself as a force to be reckoned with in hip hop – and this album backs that up.

Musically, the album has a very dark, almost industrial, tone, which works very well with Pusha’s lyrics and delivery. Kanye West oversees much of the production, giving Pusha T wonderful and fresh beats – and he and the album really benefit. Pharrell Williams also supplies two tracks, one of which (Suicide) sounds like it is a throwback to Pusha’s Clipse sound.

The album is a sparse twelve tracks, but really would have been better and tighter if it were only ten. No Regrets and especially Let Me Love You are fairly weak, with the latter not even fitting the album at all. Also, My Name Is My Name is probably overcrowded with featured guests. However, unlike many recent hip hop albums, a few of the guests actual bring something to the record – namely: Kendrick Lamar, The-Dream, Future, and Rick Ross (though, it is kind of funny that on Hold On Pusha talks about rappers pretending to be hard, cut to: Ross going in on the track - a man whose whole persona is fabricated). It is surprising the Kanye West (though, he does have un-credited vocals on Hold On) and No Malice do not show up on the album with guest verses. Pusha has great chemistry with West (as heard on their multiple G.O.O.D. Music collaborations) and it just seems like a missed opportunity, given all the guests (did we really need verses from Jeezy, 2 Chainz, and/or Big Sean?).

My Name Is My Name is both fantastic and slightly disappointing (which is completely due to the two weaker tracks that could have easily been dropped). But Pusha T has certainly thrown his hat into the conversation for who are best MCs right now. This is a vital album, pulsing with coarse emotion and skill. 4/5

Essential Tracks:

1)      Nosetalgia – Produced by Kanye West and Nottz, featuring Kendrick Lamar

2)      Numbers on the Boards – Produced by Don Cannon and Kanye West

3)      King Push – Produced by Kanye West and Sebastian Sartor

Available on: Digital Download

Alfonso Cuaron – Movies Spotlight – October 2013

Alfonso Cuaron, 51, is one of the Three Amigos of Cinema along with friends (and Mexican directors) Guillermo del Toro and Alejandro Gonzalez Inarritu. Cuaron is known for his ability to incorporate spellbinding and seemingly impossible technical feats into his films (usually in the form of long-take shots), often with the help of frequent collaborator and childhood friend Emmanuel Lubezki (who has shot six of Cuaron’s seven feature films). This month Cuaron has a new film in theaters – the utterly brilliant sci-fi thriller Gravity. The film stars Sandra Bullock and George Clooney, and is about two astronauts who find themselves stranded in Space after a catastrophic accident destroys their shuttle. Check out the trailer here. It is a remarkable cinematic experience.

Early Career:

Cuaron studied Philosophy at the National Autonomous University of Mexico before pursuing film at the University’s Centro Universitario de Estudios Cinematograficos. There, he made the short film Vengeance Is Mine with cinematographer Emmanuel Lubezki beginning a very fruitful, lasting partnership. The film was controversial, leading to Cuaron dropping out of school. Not only did he produce it in English but he also commercialized it without permission. Cuaron quickly moved into Mexican television, starting as a technician before moving into the director’s chair. He worked on the series Hora Marcada.

Breakthrough in Mexico:

After building up some acclaim for his television work, Cuaron landed a deal to make his first feature film in 1991. Love in the Time of Hysteria (Solo con tu pareja) played to both critical and commercial success in Mexico. Cuaron wrote, directed, produced, and co-edited the film. It is a wonderful dramedy about a womanizer who is tricked into thinking he has AIDS by a jilted former lover (who is a nurse). Confronted with this news, the man first attempts suicide but then he meets a beautiful woman, also attempting suicide, who changes everything. The film is marvelously shot by Lubezki. While it was never released in the States, director Sydney Pollack saw the film and loved it. He hired Cuaron, bring him to America, to direct an episode of his Showtime neo-noir series Fallen Angels.

Coming to Hollywood:

Sticking in Hollywood, Cuaron next directed his first American film A Little Princess. The film was universally praised by critics, but went mostly unnoticed by filmgoers. It is a forgotten gem of a family film though, for those looking for some really good to watch with their kids.

Next, Cuaron tackled a modern adaptation of Charles Dickens’s Great Expectations, starring Ethan Hawke and Gwyneth Paltrow (both at the height of their popularity within Hollywood circles), and featuring Anne Bancroft and Robert De Niro in support. The film does have a few strong moments, but overall it is by far Cuaron’s weakest. It just feels like his creativity and storytelling ability was brutally stymied by outside Hollywood-type creative impulses coming from those with more power and creative control (after all, Cuaron was still new to Hollywood and his name did not command the respect that it does now). Namely, the film feels like the product of Hawke to me.

Alfonso Cuaron – Auteur Filmmaker:

Maybe a little jaded by his Hollywood experience, Cuaron returned to Mexico for his next feature film in 2001. Starring Gael Garcia Bernal, Diego Luna, and Maribel Verdu, Cuaron made the wonderful coming-of-age road dramedy Y Tu Mama Tambien, this time returning to writing, directing and producing his own work. The film took off internationally, becoming one of 2001’s most critically revered releases. Cuaron even garnered an Oscar nomination for Best Original Screenplay for the film. It was also a hit in Mexico setting the country’s Box Office record for biggest opening for a Mexican film.

In a way, Cuaron then decided to return to Hollywood filmmaking (feeding of the success of Y Tu Mama Tambien) by agreeing to direct the third film in the Harry Potter series – Harry Potter and the Prisoner of Azkaban – in England. However, Cuaron did not want to make just another watered-down children’s fantasy film. He wanted to make it vital, dark, and steeped in emotional realism (even if it is only a fantasy film). To do this, he wanted to change many aspects, most notably completely revamping the aesthetic look of the series (in a way undoing everything Chris Columbus had done with the first two films). While many fans were initially shocked by the changes, the series’ producer David Heyman (who has gone on to produce Gravity with Cuaron) liked Cuaron’s vision and stuck by him. The film is magnificent, completely obliterating the low standard that such films had achieved previously. This was not just a Hollywood film for kids, but a piece of art that also happened to be highly entertaining. It altered the course of the series from a quality and aesthetic standpoint (for the good) and raised the bar for all Summer/Holiday blockbusters (along with The Lord of the Rings Trilogy and Spider-Man 2) leading to great franchise films such as Christopher Nolan’s Dark Knight Trilogy and David Yates’s Potter films (especially The Deathly Hallows Part I and Part II). The film, like all in the series, was a box office success, but also achieved high critical praise.

Cuaron next took a slight break from features directing the segment Parc Monceau of the ensemble film Paris, je t’aime.

Staying in Britain, Cuaron began developing his next project – his most ambitious (before Gravity) – an adaptation of PD James’s novel Children of Men about a dystopian future with no children, starring Clive Owen, Julianne Moore, and Michael Caine. The film never really found an audience at the box office, but critics showered it was acclaim. Cuaron again was nominated for a screenwriting Oscar as well as one for editing. The film is not only highly compelling dramatically but also aesthetically and technically stunning. Both Harry Potter and the Prisoner of Azkaban and Children of Men are among my personal favorite films of the past decade.

Cuaron also started his own production company called Esperanto Filmoj during the time he was making films in England. The company first made the comedy Duck Season and then the critically loved international hit Pan’s Labyrinth, directed by friend Guillermo del Toro. The film won three Oscars. Gravity is the seventh feature film produced by the company.

Future Projects:

Working with executive producer J.J. Abrams and writer Mark Friedman, Cuaron is creating a new fantasy drama for NBC called Believe. He is also writing and directing the pilot. It stars Jake McLaughlin and Johnny Sequoyah and is about a gifted young girl who is being pursued by evil elements that want to harness her power. However, an unlikely man, a convict on the run having just escaped from prison, might be her best chance to stay safe. The series will premiere on NBC after the end of the NFL season. Here is the trailer.

Career Highlights:

1)      Love in the Time of Hysteria (1991)* – writer, director, producer (DVD, Trailer)

2)      Y Tu Mama Tambien (2001)* – writer, director, producer (Blu-ray, Video On-Demand, Trailer)

3)      Harry Potter and the Prisoner of Azkaban (2004)* – director (Blu-ray, Video On-Demand, Trailer)

4)      Children of Men (2006)* – writer, director (Blu-ray, Video On-Demand, Trailer)

5)      Pan’s Labyrinth (2006) – producer (Blu-ray, Video On-Demand, Trailer)

*Editor’s picks 

Don Jon (2013) – Review

Review: Don Jon is a raunchy, funny, and at times sweet romantic comedy, all while addressing the problems facing modern relationships. The film is about Jon, a New Jersey native who finds more of a connection with the women in porn than he does with real women he brings home. Hoping to find more meaning in life, Jon decided to engage in an actual relationship instead of just meaningless sex. During the course of this relationship, Jon begins to change learning something deep and meaningful about himself.

Actor Joseph Gordon-Levitt, who also stars in the film, makes his writing/directing feature debut with Don Jon. And like many first-time young directors, he brings a pop-art style to the film that takes bits and pieces of other filmmakers’ work (or cool aesthetic moments from other films) and amalgamates them into a scattered filmmaking style where aesthetic decisions are made chiefly because they look cool instead of serving the narrative. Here, the editing and camera placement is very flashy compared to the standard Hollywood-style most films are made with, and it is a bit more ambitious than what can be called ‘indie style’. It plays a role in the comedic and emotional impact of the film directly engaging the audience. But, it is a dangerous game. If the viewer does not like the style, which to some extent feels amateurish (a scrambling of other directors’ ideas projected onto this film), then the message that this film purports will be lost as the style will take all the attention. The style is cool and fun (and maybe even hip), but it also can be distracting, as it gets in the way of the film really creating a significant connection with the audience. However, Gordon-Levitt does seem to find a balance between style and narrative. As the film progresses, the performances seem to take over focus (much to the benefit of the film as a whole).

What Gordon-Levitt does that is very interesting is his complete commitment to the repetitive visual images than make up Jon’s life. The audience is constantly shown the same routine over and over, playing into the monotonous and seemingly unfulfilling life that Jon leads. His routine seems to be a distraction from his emotions, allowing him to just cruise through life without deeper meaning, which also plays into why he finds something in porn more so than empty sex. His imagination is able to fill in the emotional gaps and desires that one-night stands can never hope to fulfill. Thus, as Jon starts to actually find meaning in his life, the routine begins to fade away and the audience is easily able to pick up on the change because the visual images of the routine are so ingrained that any deviation is immediately noticed – and even more so: impactful.

Gordon-Levitt does this with his characters too, especially Jon’s family. They are presented in very much the same manner each time the audience sees them. Once Jon undergoes his change, his family too starts to have moments that break their typical character and visual routines as well. This is a very smart way to interact with an audience, as again the changes are very perceptible once the routine is broken and the audience perks up and feels more engaged in the narrative.

The narrative itself is nothing new. Jon is basically the epitome of ‘male’. He is handsome, works out, has a muscle car, and has lots of success with many women. But Gordon-Levitt takes this character, which superficially is desirable to many, and subverts him, showcasing just how unhappy and pointless his life really is in that he leads a life without meaning. His addiction to porn is in some ways just a shock-value grab for the audience. It is the hook to reel in the viewer initially, but it is not really the main focus of the narrative: that of a man who finally allows himself to be vulnerable and not be so ‘male’, which is fairly tried-and-true in romantic comedies.

But, then again, the porn addiction is an interesting aspect as well. Don Jon can be taken as a much lighter version of Shame (which deals with sex addiction). Porn can be substituted for anything that allows one to escape the reality of life, pushing down and hiding the pain or absence of meaning. In Don Jon, Gordon-Levitt asks his audience to leave the film ready to escape the dreariness and sameness of their own lives and embrace change, new things, and above all real emotions and experiences that will bring light to their souls, as that is where true happiness lies.

At its core, Don Jon is a deconstruction of the modern romantic comedy. Jon’s relationship with Barbara (to some degree) resembles the superficial coupling of two people in rom-coms: two beautiful people who have some obstacles but eventually come together and everything is happilyeverafter. But, audiences never see what happens after the couple comes together, as that is usually the end of most rom-coms. Here, Jon and Barbara find that they really both do not understand how to be in a relationship and are certainly not right for each other. For Jon, this is another step in his growth and for Gordon-Levitt it is a way to take a shot at the fantasy that is the romantic comedy genre.

Overall, the grand narrative ambitions for the film are quite extensive for a new filmmaker and Gordon-Levitt executes his premise with skill. That said, on top of the style being a bit distracting the greater narrative structural problem that Gordon-Levitt faces is that his film drags noticeably in the second half. Jon has sort of a soul-searching episode, which while narratively necessary does somewhat derail the forward momentum of the pacing. The pop-art style of the editing has a brisk pace that is also very vibrant for most of the film, and then suddenly the tone is softer and editing becomes much slower, losing the audience. A lot of the comedy also is lost during this shift. The film begins to feel far less entertaining during this portion, as the tone previously dictated that the film was mainly a comedy thus setting an expectation for the audience. When the tone switches to a much more dramatic one, this compounds the effect of the slower pacing, which in turn leaves the audience feeling bored as they wait for the comedy to return.

As it is, Don Jon is a fun and interesting look at modern relationships and addiction. The performances and ambitiousness of its narrative are endearing, but the film’s pacing issues and inelegant style do hold it back. Fans of the romantic comedy genre may find the film a nice change of pace however, as it takes many of the genre’s troupes and turns them on their head.

Technical, aesthetic & acting achievements: Joseph Gordon-Levitt has delivered a good debut feature film with Don Jon. The pop-art style he employs is something very common among new younger filmmakers (as I said above) and in all likeliness he will find his own style as he makes more films. What is more exciting about him as a filmmaker is the thoughtfulness of his narrative. At face value, it is just about a man looking for ‘real’ love, but underneath the deeper meaning explores many true setbacks of modern life (i.e. living in a monotonous bubble of routine) while also exposing the failures of the romantic comedy as a genre (something The Five-Year Engagement also does well). I look forward to his future filmmaking endeavors.

Composer Nathan Johnson’s score seems to be lost for most of the film, hidden behind the fun soundtrack and constant splattering of imagery (porn and other pop-culture references). However, when the narrative starts to become more character driven and the performances begin to take primary focus away from the aesthetic style of the film, the score starts to play a bigger role reinforcing the dramatic beats of the film. Thomas Kloss’s cinematography is fairly straightforward. However, the camera placement in the film is often intriguing as it is often different than where the camera would typically be placed in most films. Meghan C. Rogers’s production design is maybe the most compelling of the major artistic collaborations. Her work presents a seemingly very sterile world for Jon to inhabit, which plays wonderfully into his routine-dictated life.

The film at first seems to by style driven, but Gordon-Levitt realizes that at its heart this is a character driven film and thus shifts focus to the performances during the second act. Jeremy Luke and Rob Brown are very funny in small supporting roles, while Glenne Headly and Brie Larson (who plays this film’s Silent Bob) add a lot without much screen time. Larson especially has some great stuff. Tony Danza is a scene-stealer. He has so much energy that the audience cannot help but be drawn to him. Julianne Moore is good as Jon’s down-to-Earth friend Esther who plays as a great juxtaposition to Barbara. Scarlett Johansson is fantastic as Barbara, who she plays as a very Housewives of New Jersey/Jersey Shore woman. She is stunning yes, but also very controlling and shallow. Joseph Gordon-Levitt does not immediately strike one as a typical Jersey meat-head, which is basically the role he is playing. But, there is more to Jon than just the stereotypes. He actually craves more from life, which is why he tries to change his life. Gordon-Levitt does a good job bringing the character’s emotional journey to life.

Summary & score: Don Jon has a lot to offer. It is thought-provoking, while still being funny and dramatically engaging. It is a fine directorial debut for Joseph Gordon-Levitt. 7/10

Gravity (2013), in 3D – Review

Review: Gravity is a remarkable cinematic experience, treating the audience to a thrilling journey of human perseverance and striking beauty. The film is about the mission of the Space Shuttle Explorer, tasked with installing new equipment on the Hubble Space Telescope. However, the mission goes awry when the Russians accidently launch a missile into Space destroying one of their communication satellites sending debris into orbit around Earth causing a catastrophic chain-reaction. The debris, moving at incredibly high speeds, is on a collision course with Explorer, having already destroyed multiple satellites (creating even more debris). The crew of Explorer is not able to act fast enough and is caught in the cloud of piercing debris leaving two members of the crew adrift in Space, Mission Specialist Dr. Ryan Stone and veteran astronaut Mission Commander Matt Kowalski. Now, Stone and Kowalski must do everything they can to survive.

Writer-director Alfonso Cuaron’s story is a simple one (leaving behind almost everything sci-fi films are known for). The film is at its heart about the triumphant will of the human spirit to persevere against all odds. And structurally, the narrative is built on the characters facing mounting obstacles in a very classical sense (with a clear three-act structure). Cuaron does a fantastic job managing the pacing and tone. He keeps the audience in a tight suspenseful grip, never letting the tension fully dissipate, but allowing the audience to catch their breath (which is essential when making a great thriller) and take in the sheer brilliance of the stunning visuals. The experience is intense, but ultimately rewarding.

Cuaron keeps the audience intimately attached to the characters (particularly Stone, who is the lead), which creates a bond between the audience and the characters (as to some extent they both go through the ordeal of being alone in Space, seemingly without hope, together). A lot of the film sees Cuaron’s camera very close to Stone’s face or from her perspective. And, if the camera is away from her, the sound design emphasizes her breathing. The audience is always in touch with her emotions (whether she is scared, excited, nervous, etc.). Cuaron is so successful in his ability to connect the audience to Stone that she becomes a vessel for each audience member. The struggle that she engages in, the audience also engages in – her emotions become the audience’s emotions.

The magnificent visuals (created digitally to look as photo-realistic as possible) also do a lot to bring the audience into the film. The vastness of Space is eerie and bleak, while the lush and colorful Earth seems comforting. Space is unforgiving and impossible to sustain life in (as stated in the opening moments of the film), and yet as comforting as Earth may appear it feels so far away, only escalating the terrifying reality that these characters are alone. Additionally, everything feels and looks very real in the environment, which is a credit to Cuaron and his skilled team of technicians. Realistic or not in reality, the film appears to be and feels completely honest in its portrayal of every aspect. The emotional journey of the characters pulls the audience into the narrative, but the stunning visuals set the stage wonderfully.

The visuals are also notable in regards to the use of 3D technology in the film. The amazing depth that it adds is beguiling (and a necessary component to feel the full experience). Avatar reintroduced the cinema world to what 3D, when done well, could offer as a cinematic event experience. But, since Avatar’s release at the end of 2009, there have only been two films that use 3D justifiably (amidst the absolute plethora of 3D releases and rereleases): Life of Pi and Gravity. This film sets a new standard for the medium (in a sense shamming everything that has come before it, aside from Life of Pi – though, Gravity is in completely different category of excellence). The 3D in Gravity is so much better than anything audiences have seen before that it is staggering. Cuaron (who is very critical of 3D’s use in film) spent years in post-production refining the look of this film (and the 3D) until it was perfect – much to the benefit of the audience. I am not a fan of 3D. It almost always looks terrible and actually takes away from the film in almost all cases, but like Avatar and Life of Pi I would implore those wishing to see Gravity to see it in 3D – it is just a transcendent experience unlike any other in cinema this year.

The theme of rebirth is heavily featured throughout the narrative. There is a scene in particular in which Stone resembles a fetus floating in a womb (when she gets to the International Space Station and takes off her Space suit). Throughout, Stone is tested with obstacle after obstacle, each more challenging and mentally and emotionally demanding. Cuaron makes it clear in the first act that she is a novice in Space. Thus, in order to survive, alone, she must come to terms with her own fear and find within herself the will to live and let go of her dread. In a sense, she must be reborn. Stone lost her daughter in a freak accident and seems to have not fully come to terms with that loss, leaving her sort of floating through life without a true will to stubbornly keep going in spite of the hardships she has faced. Thus, for Stone to overcome her predicament she must find her internal fight. This is something very relatable to us all – to face tragedy and find a way to keep moving forward. Stone’s journey in some ways ultimately becomes about her acceptance of her daughter’s death more so than her struggle to survive. She must want to survive and to do that, again, she must let go of what is holding her back. This is very powerful emotionally and thematically, as it taps into some very basic and human: the want/need to be alive.

In many ways Gravity is ‘pure cinema’ in that it offers a simple story set in an extraordinary environment that completely engages and captivates its audience. The film provides gripping intense suspense, deeply resonating emotional character drama, and even lighter moments of effective brevity. Cuaron has made a film with everything narratively, but Gravity will probably be remembered for its devastatingly spectacular visuals. They are unlike anything audiences have seen in cinema – a new crowning achievement.

Technical, aesthetic & acting achievements: Alfonso Cuaron has now made seven feature films. With each film, he exhibits both an innate ability to capture emotional truth and brilliantly design his narratives, particularly from a directing standpoint. His films are always highly compelling to watch artistically – his use of long-take shots is legendary (Gravity opens with a shot that is almost thirteen minutes long before the first edit – essentially the whole first act). He is among cinema’s greatest active auteurs (and personally, I love his films Love in the Time of Hysteria, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, Children of Men, and now Gravity).

Composer Steven Price’s score is captivating. It does not just serve the role of accompaniment to the drama on screen; rather it engages the audience on an emotional level as well. It heightens the panic and fear, enraptures the film’s beauty, and transports the viewer’s imagination. Here is a sampling. Cinematographer Emmanuel Lubezki is one of Cuaron’s most fruitful collaborators. They have known each other since childhood and have made six films together. On Gravity, Lubezki faced an incredible challenge: lighting the actors’ faces to match an environment that was created entirely digitally. Lubezki uses what he calls an LED box (which was invented for the film) to light the actors’ to match the VFX scenery. His work looks phenomenal and is even more impressive given the immense degree of difficulty (plus the number of long-takes in the film only amplified the degree of difficulty). Lubezki again separates himself as one of cinema’s most talented D.P.s with his work on the film. It is staggeringly good (here is an interesting interview with Lubezki regarding his work on the film). Andy Nicholson is relatively new to production design, but comes from a background of doing fantastic work as an art director. On Gravity, his design work is wonderfully beautiful (with credit also going to Lubezki, Cuaron, and VFX supervisor Tim Webber) as well as very realistic. As stunning as the film looks (the shots of Earth and the rising sun are breathtaking), an essential component to creating a fully immersive experience was creating a world that looked as authentic as possible, and this is where Nicholson’s work truly shines. The audience never questions whether the characters are really in Space (intuitively knowing that the actors are not), and that is a remarkable accomplishment.

Gravity exists chiefly as a consuming thriller and momentous visual experience, but underneath it is in many ways a character drama built on excellent performances. In a fun nod to Apollo 13, Ed Harris features in a small voice role as Mission Control. George Clooney is very good as Matt Kowalski, playing the astronaut as being very confident (a seasoned veteran) and yet still very human. His charm and charisma not only soothes Stone but also the audience in what could be (and still is) a very traumatic moment (Explorer being overrun by debris sending Stone tumbling into oblivion). Sandra Bullock gives the performance of her career as Dr. Ryan Stone (yes, it completely overshadows the caricature that somehow won her an Oscar). Bullock gives a very physical performance, and one that must have been very demanding (with the aid of puppeteers – who also did the stage production of War Horse). For large portions of the film, Bullock must convey everything just with her eyes, face, voice, and breathing and she is utterly enthralling throughout. Her emotional journey becomes the audience’s journey as well, and that could only be accomplished by her brilliant work.

Summary & score: As a film about the fascination and/or terror of Space, Gravity ascends to the same heights as 2001: A Space Odyssey and Alien in terms of creating pure astonishment and dread. But as a visually jarring experience about letting go and finding a way, against all odds, to persevere, the film is simply wondrous (maybe even overwhelmingly so). 10/10

Movie of the Week – Big

This week’s movie: Big (1988).

Josh is just a typical kid living in New Jersey. He plays video games, likes sports, hangs out with his best friend, and has a crush on a girl who happens to be older. Thinking that he has a chance with her, he tries to go on a rollercoaster at a local fair to impressive her, but when he finally gets to the ride he is denied entrance (for not being tall enough to ride). Embarrassed, he makes a wish to be ‘big’ on a creepy fortune-teller machine. The next morning he awakes to find himself a thirty-year-old man.

Director Penny Marshall, who also had a hit film with A League of Their Own, directs what is probably her best film, working with writer Gary Ross (who has since become a well-known director, last year he wrote and directed The Hunger Games), producer James L. Brooks, cinematographer Howard Shore, cinematographer Barry Sonnenfeld, and production designer Santo Loquasto.

The film stars Tom Hanks (who is at his best), with Elizabeth Perkins, Robert Loggia, and Jared Rushton co-starring. John Heard, David Moscow, Jon Lovitz, and Mercedes Ruehl feature in support.

Big was among my favorite films as a kid, and it is one of the few that has held up (and I may even like it more today – but nostalgia is probably playing a role in that). Young Tom Hanks made highly enjoyable comedies such as Splash, Bachelor Party, The Money Pit, The ‘Burbs, and Joe Versus the Volcano – but Big is by far his best (even earing him his first Oscar nomination). This is a must-see for comedy fans and Tom Hanks fans.

Trailer: Here
Available on: Blu-ray and Video-On-Demand

At the Movies – October 2013 – Part 3: Most Anticipated Films

Must-See of the Month:

12 Years a Slave (Steve McQueen) – Drama – Oct 18

Plot Summary: Solomon Northup, a talented pre-Civil War musician and free black man living in the North, is tricked and abducted. Sold into slavery in the South, Solomon must survive if only for the hope of being free again and returning to his family. Filmmakers: This is auteur Steve McQueen’s third feature film, following the brilliant films Hunger and Shame – each dramatically heavy and expertly directed. McQueen is working with a wonderful group, including: frequent collaborator cinematographer Sean Bobbitt (who shot both of McQueen’s other films), composer Hans Zimmer (The Dark Knight Rises), and production designer Adam Stockhausen (Moonrise Kingdom). Cast: This has 2013’s best cast. It stars Chiwetel Ejiofor and co-stars Michael Fassbender (who has appeared in all of McQueen’s films), Sarah Paulson, and Lupita Nyong’o. The supporting cast features Benedict Cumberbatch, Brad Pitt (who is also producing), Paul Dano, Paul Giamatti, Michael K. Williams, Garret Dillahunt, Scoot McNairy, Alfre Woodard, Dwight Henry, and Quvenzhane Wallis (Henry and Wallis had their breakthrough in last year’s Beasts of the Southern Wild). Expectations: 12 Years a Slave, after premiering at the Telluride Film Festival and winning the Audience Award at the Toronto Film Festival, is the favorite to with this year’s Best Picture Oscar. It is very much in the mix for other awards as well, including: Best Director, Writing, and Acting (Chiwetel Ejiofor, who has long been brilliant and is finally getting some more mainstream recognition, Michael Fassbender, and Lupita Nyong’o). If for no other reason, this is probably a must-see just for the cast alone – and really the same can be said for Steve McQueen’s skill behind the camera and with actors. This looks like an amazing drama that is not so much about the abhorrence of slavery, but more the perseverance of the human spirit, against all odds. Picking a Must-See for October was difficult, as the month holds what will very likely be 2013’s best two films with this and Gravity, but 12 Years a Slave just feels like something substantial and important, a generational cinematic moment (or maybe, I am overselling it). Trailer: Here. Review: Here.

Worth Checking Out:

Gravity (Alfonso Cuaron) – Sci-Fi Drama/Thriller – Oct 4

Plot Summary: After an accident leaves astronauts Dr. Ryan Stone and Matt Kowalsky adrift in space, the two must do everything in their power to stay calm and survive until help can reach them. Filmmakers: Finally, auteur Alfonso Cuaron has a new film, after a seven year wait. Just to recap his brilliance, he made the wonderful films Love in the Time of Hysteria, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, and Children of Men. He is working again with genius cinematographer Emmanuel Lubezki (who shot Children of Men for Cuaron). New to the team are composer Steven Price (The World’s End) and production designer Andy Nicholson (The Host). Cast: Sandra Bullock stars, with support from George Clooney and Ed Harris (who features in a voice-role). Expectations: Gravity has already played to grand praise coming from its festival screenings. Of the almost two hundred films screened at this year’s Toronto Film Festival, four where separated out of the mix for particular accolades: Rush, Prisoners, 12 Years a Slave, and Gravity (the final two noted as the standout films of the festival). It is also getting awards season buzz for Best Picture, Director, Actress, and other technical categories. The film had a long production schedule, particularly in post-production as it was made to be seen in 3D. Cuaron wants the experience to be thrilling, as if the audience is truly abandoned in space, using many very long-take shots. I cannot wait to see the film. It looks breathtaking. Trailer: Here. Review: Here.

Captain Phillips (Paul Greengrass) – Thriller – Oct 11

Plot Summary: Based on the true story of Captain Richard Phillips, the captain of the first American-flagged cargo ship to be hijacked in over two hundred years. Filmmakers: Director Paul Greengrass is probably a perfect fit for this type of film. His style matches the material wonderfully, as he is an expert at creating a gritty and realistic experience for the audience (though some complain about his hand-held camera work) – see Bloody Sunday and United 93 as good comparisons. He also made the strong action thrillers The Bourne Supremacy, The Bourne Ultimatum, and Green Zone (which is underrated). He is working with composer Henry Jackman (This Is the End), cinematographer Barry Ackroyd (who shot United 93 and Green Zone for Greengrass), and production designer Paul Kirby (The Devil’s Double). Cast: The film stars Tom Hanks, and features Catherine Keener, Max Martini, and Barkhad Abdi in support. Expectations: Captain Phillips looks like a very good thriller, though it will be interesting to see how well Paul Greengrass can manage the tension given that the audience already knows how it ends going in. The film has potential to be in the awards season conversation, but it is probably on the outside looking in right now. Tom Hanks very well could factor in as well (though, this also depends on his showing in Saving Mr. Banks, and how that film turns out). This is definitely worth seeing for fans of good thrillers. Trailer: Here. Review: Here.

The Counselor (Ridley Scott) – Crime Drama – Oct 25

Plot Summary: A lawyer looking to make a couple extra bucks tries his hand at drug trafficking. However, he soon finds that he is in way over his head. Filmmakers: Director Ridley Scott is at his best when he is working with great source material, as he is a wonderful visual director: Alien, Blade Runner, Black Hawk Down, Kingdom of Heaven (the director’s cut, of course), and Body of Lies (to name my favorite of his films). On the Counselor, he should have fantastic source material, as it is scripted by author Cormac McCarthy (who wrote the novels No Country for Old Men and The Road). Scott is also working with composer Daniel Pemberton (The Awakening), cinematographer Dariusz Wolski, and production designer Arthur Max (who designed Prometheus for Scott, and Wolski shot it – while the story was a bit all over the place, visually the film was quite brilliant). Cast: Michael Fassbender stars, with Brad Pitt, Cameron Diaz, Penelope Cruz, and Javier Bardem co-starring. Natalie Dormer, Dean Norris, Goran Visniic, John Leguizamo, Rosie Perez, and Bruno Ganz feature in supporting roles. Expectations: The first thing that stands out about The Counselor on paper is just how fantastic its cast is – really a film by Ridley Scott and Cormac McCarthy with these actors is a good enough reason to see it, knowing nothing else and having not seen a single frame. However, we do know more and have seen more. It looks awesome. This is a must-see for fans of great actors and wonderful crime dramas. Trailer: Here. Review: Here.