LeapBackBlog 2013 Film Awards – Part 1: Technical Achievements

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

Part 2: Supporting Performances

Part 3: Directors

Part 4: Leading Performances

Part 5: Films

Arcade Fire & Owen Pallett – Score – her

Her is a film that address emotions we all struggle with and openly embrace when it comes to our relationship hopes, dreams, and fears. Arcade Fire and Owen Pallett (as well as some additional contributions from Karen O) deliver a score that fits these emotions as well as the hip aesthetic of the film. Her has a cool pop-culture quality to it, and thus it is only fitting that Arcade Fire would be scoring the film. Their music fits the ambiance wonderfully, while also adding an additional emotional accent. It is wistfully optimistic, in that there is an inherent sadness (as there is with the main character Theodore) but also a real hope that happiness and true connection is still a possibility (here is their song Supersymmetry, written for the film).

K.K. Barrett – Production Design – her

K.K. Barrett has made a career out of making films that feature a fresh, modern, and sophisticatedly cool style (things like Being John Malkovich, Adaptation., Lost in Translation, Marie Antoinette, and Where the Wild Things Are). He does the same again with Her. From the costume design, set decoration, and set design/locations to the lighting, the film has a brilliant aesthetic of bright solid colors that pop against the mundane of normal life. Barrett does not just create his art for the sake of being art; it also fits really well with the film’s narrative. Theodore just wants to find connection, when he feels so alone. With his bright shirts, he is always singled out in the frame, amplifying the sense that he is separate from the world around him. Barrett’s design work in Her is extraordinarily cool (I want to live in Theodore’s world – his apartment, his office, the restaurant he goes on a date too – everything is so interesting and artistically compelling).

Judy Becker – Production Design – American Hustle

American Hustle is a film that will likely be best remembered for its standout performances, but also for its fabulous production design (and costume design, courtesy of Michael Wilkinson). The whole affair is grand game of dress up with outrageous hair styles and extravagant costumes, but Judy Becker’s work does something magical. It completely embraces the con-man genre and all the shenanigans that come with it, while also grounding the film in what feels like a realistic world. She offers a backdrop that is playfully nostalgic with a sense of realism as well (given the world of the narrative). It is splendid work.

Sean Bobbitt – Cinematography – 12 Years a Slave

12 Years a Slave is a heartbreaking tale of Solomon Northrup’s perseverance in the most treacherous and humiliating years of his life – a free man tricked and sold into slavery. Sean Bobbitt’s cinematography is beautiful as he uses natural lighting to great effect. The Louisiana plantations that Solomon finds himself tethered to feel lazily sublime and even whimsical through Bobbitt’s photography, remarkably juxtaposed to the horrors that Solomon witnesses and is forced to endure. But there is also a tension and inner darkness to Bobbit’s work as well, as if this exquisite backdrop only exists as a thin veil desperately trying to conceal a rotten and decaying society – a façade to hide pure evil (similarly to the way the film shows that really the true villain of the South is the honorable man who simply abides and takes part in slavery – who is more a villain Ford or Epps?). Bobbitt’s collaborations with Steve McQueen have and continue to produce some of cinema’s finest work. And, on a side note, Bobbitt’s photography for The Place Beyond the Pines was also very good.

Bruno Delbonnel – Cinematography – Inside Llewyn Davis

It is no secret that Bruno Delbonnel is one of my five favorite active cinematographers (along with Emmanuel Lubezki, Roger Deakins, Wally Pfister, and Robert D. Yeoman). He continues to bring his style of color saturated photography to the films he works on with such an elegant mastery. With Inside Llewyn Davis, he gives the film a feel and look that is almost surreal but at the same time very fitting for the time period and place (1960s Greenwich Village). It echoes the sadness of the film, while still adding a resonating beauty. It is phenomenal work.

Emmanuel Lubezki – Cinematography – Gravity

One might ask: “Why does Gravity feature 2013’s most impressive cinematography? All the visuals are created digitally.” Simple, while Emmanuel Lubezki and director Alfonso Cuaron worked with the visual effects team to create the look of Space, Lubezki still painstakingly needed to match everything that happens in the visual effects, lighting wise, on the actors’ faces when they were filmed live – no small task (in fact, a very difficult task). Lubezki’s lighting is perfect, beautiful, and enthralling. His collaborations with Cuaron continue to push the boundary of what is possible in film.

Anthony Dod Mantle – Cinematography – Rush

A lot of what makes Rush a great sports drama is its atmosphere of high stakes. Anthony Dod Mantle’s brilliant digital photography gives the film all the atmosphere it can handle. His work creates a thrilling and realistic experience for the audience, often giving them the feeling that they are right there with the drivers, whipping around the track. His ability to mix his footage with actual footage seamlessly is also paramount to the film’s perceived realism and ability to pull the audience into its narrative. As much as I like and support film still being shot on film, Dod Mantle continues to make a strong argument for digital.

Steven Price – Score – Gravity

Gravity is an exciting, intense film. Steven Price’s score works perfectly with the visuals and emotions of the film, creating an ‘edge of your seat’ experience for the audience. The music also captures the feeling of isolation very well. There is a removed sense to it, a sadness that comes from being lost and alone (the piece entitled Don’t Let Go is a good example). Working with director Alfonso Cuaron, Price plays with his score as well. There are moments in which he blows it out to jolt and captivate the audience. It is wonderful work. And, on a side note, his score for The World’s End is very good too.

Adam Stockhausen – Production Design – 12 Years a Slave

Adam Stockhausen’s production design in 12 Years a Slave is paramount to the film’s success, as he must create a world that feels as honest and natural as possible. He does this and more. The film looks and feels real, which only pulls the audience further into the narrative and emotional power of the film. Solomon’s world is bright in the North as a free man, but when he finds himself enslaved his world becomes utterly bleak. His cramped, dark, and decrepit world is presented in the shadow of the grand homes of his masters. Stockhausen is able to put the audience in Solomon’s place, making the experience all the more devastating, haunting, and ultimately uplifting (in that Solomon does preserver in the face of everything that would strive to bring him down).

Hans Zimmer – Score – 12 Years a Slave

Hans Zimmer’s score for 12 Years a Slave is probably my favorite of 2013. Not because it is necessarily the best composed music (though, it is quite elegant and moving – his piece entitled Solomon comes to mind), but because Zimmer also employs incredibly raw (almost off-putting) distorted noise as well to create a very visceral and unnerving experience (the score used during the riverboat scene when its paddlewheel is thrashing is particularly intense). It is this modern musical aesthetic applied to what is otherwise a very naturalistic period piece that stands out and is so striking. It is ambitious and brilliant work from Zimmer, collaborating with director Steve McQueen. Zimmer also provided great musical scores for Man of Steel, The Lone Ranger, and Rush in 2013.

Jack Ryan: Shadow Recruit (2014) – Review

Review: Jack Ryan: Shadow Recruit is generic yes, but still an entertaining and thrilling origin story. The film is about Jack Ryan, a man studying at Oxford who decides to leave school to join the Marines after the events of September 11, 2001. However, while in combat in Afghanistan, a helicopter he is traveling in is shot down severely injuring him, ending his military career. Now looking for a new way to serve, Ryan is approached by the CIA to join their financial crimes unit (being that he was working on his PhD in Economics before leaving school). Ryan accepts their offer and moves to New York to work on Wall Street (after finishing his PhD program). Meanwhile, Ryan courts Cathy Muller, a resident that he met while recovering from his injuries suffered in Afghanistan. Ten years later, Ryan and Muller are living together in New York and he is working in a trading firm, monitoring their trades for suspicious activity. He comes across something odd and the CIA sends him to Russia to investigate. Ryan thinks that the trades he is seeing could lead to the economic meltdown of the US economy coupled with a terrorist attack. But first he must uncover the plot.

Jack Ryan: Shadow Recruit is an adequate film in most every regard. It does what it sets out to do – i.e. it is a good origin story for Jack Ryan that will hopefully set up further adventures. Director Kenneth Branagh does a good job managing the characters, keeping the story and action moving forward, and creating exciting action beats.

That said, the biggest weakness of the film is that it is very generic. It is more or less a Jason Bourne, Ethan Hunt, James Bond type modern action thriller that audiences have seen many times and in some cases done better. Conceptually there is nothing new about this film or this type of character on a general level, and the action too is very typical. It is also a wonder that the film is based on an original story only using Tom Clancy’s characters rather than on one of the many Clancy stories that could have been slightly amended to be an origin story. Why ignore his vast array of great stories that are proven? The story in Shadow Recruit is not bad by any means; it is just typical and unsurprising. And thus, much of the story and the action (all being nothing new) sort of play in the background to what is actually the best part of the film: the characters themselves, specifically the villain Viktor Cherevin and Cathy Muller (who has an expanded role compared to other Jack Ryan films).

Branagh has always been a director who does his best work with actors, with the other aspects of filmmaking being more ordinary (that is to say, he is not a great director but an adequate one who generally gets good performances). The best part of this film is the performances – the dialogue scenes between characters are much more interesting than any of the bigger action beats. Though, to his credit, Branagh does keep all the action engaging and exciting. Personally, my favorite scene in the film came when Jack and Cathy meet Viktor for dinner. They put on a rouse to distract him while Jack breaks into his office to steal some documents, leaving Cathy to entertain/distract Viktor. The interplay between Cathy and Viktor is a lot of fun, and there is a nice bit of tension as the whole thing could be discovered at any moment. It feels like a classic spy-film scene.

Another thing that Branagh does to keep the film engaging is that he paces the film to move briskly. The film’s first act sprints through the events of Jack’s early life that shape who he is and why he ultimately ends up with the CIA. To some extent, the film probably could have been drawn out another 30-45 minutes for more development, which could have provided more character depth and narrative detail (and given it more of a classic spy-movie feel). But, at some stage the decision was made for this film to be more of a Hollywood style action thriller that relies on economic storytelling, quick pacing, and lots of action beats (Shadow Recruit is the shortest of all five Jack Ryan films), which is fine but it just leaves it feeling similar to many other action thriller franchises audiences have seen in the last few years. It does not bring anything new or different to the table, or really even try.

Jack Ryan has always been a character in film who finds himself pulled into action scenarios (even though he is constantly complaining that he is just an analyst). With Shadow Recruit, he is made an operative at one point, and the audience is shown (briefly) that he has a background as a Marine (rescuing two soldiers from the helicopter crash while having a broken back). Thus, his role as a man of action is not as surprising (as say Harrison Ford’s Jack Ryan who is a wrecking ball) – plus, this is what modern action film have become. Average movie fans do not want to see a man who stops terrorist plots from a desk (similar to a film like Tinker Taylor Soldier Spy); they want their star in the middle of all the action creating almost a mandate for what Hollywood franchise action thrillers should be.

 And so, on a brief side note, here is my ranking of all the Jack Ryan films (for those who are interested): 1) The Hunt for Red October (probably the most true to the idea of the character, but Ryan is really not the lead in the film), 2) Patriot Games, 3) Clear and Present Danger, 4) Jack Ryan: Shadow Recruit, and 5) The Sum of All Fears.

 All in all, Shadow Recruit works fine as the first chapter of the Jack Ryan reboot, and it does its job (as I would be interested in seeing future adventures with these characters and actors – but that all depends on international box office now, as this underperformed domestically opening weekend). And I suspect that fans of the genre, especially those who like it with a bit of action, will enjoy the film as it is both thrilling and entertaining, and best of all features good characters/performances.

Technical, aesthetic & acting achievements: Kenneth Branagh is best known for his work directing and starring in his adaptations of William Shakespeare’s work. In particular, his versions of Henry V, Much Ado About Nothing, and Hamlet are great (and are to this date still his best films). But then he directed Thor for Marvel, and has since been expanding his scope as a filmmaker. As said in the review, the best moments of Jack Ryan: Shadow Recruit come in the scenes between characters, and that speaks to what kind of director Branagh is, but he does a good enough job with the action too. I am interested to see what he does with his next film Cinderella.

Patrick Doyle gives the film a great action thriller score that sounds like it tends towards the techno-thriller side, which in many ways is very fitting. The film does spend a lot of time with Ryan looking at financial transactions and code, and his big scene in which he breaks into Viktor’s office feels like something right out of a techno-thriller. Doyle’s music sets the tone and adds an additional level of excitement and tension. Haris Zambarloukos’s cinematography is good as well, but overall fairly standard for this type of Hollywood film. However, Andrew Laws does a wonderful job with his production design, especially with the sets in Russia. They are artistically compelling.

The performances in the film are strong across the board. Colm Feore and Nonso Anozie are good in small supporting roles. Kevin Costner plays Jack Ryan’s mentor Thomas Harper with his usual blending of a man who is both fatherly and tough (in a morally patriotic type of way). The scenes between Ryan and Harper are some of the better ones in the film, and it is really too bad that there could not have been more character development between them. Kenneth Branagh plays Viktor Cherevin, the film’s villain. In some ways he is just another in a long line of generic Euro-villains with some ambitious plot to bring America down. But, Branagh brings a lot more to the character with his performance. There is a real humanity and depth to this man, more than just pure cliché. The same can be said of Keira Knightley’s performances as Cathy Muller. She adds a lot more to the film than just merely being a girlfriend character or a damsel in distress (though she does serve those purposes too). She has a lot fight in her (and may even be a better and more willing spy than Jack Ryan). Knightley just seems to bring an added layer (much like Branagh) to the role; her Cathy feels like a fully realized person. And in some ways, the depth of these supporting characters makes this reiteration of the franchise seemingly have more potential than past Jack Ryan films that seemed to rest solely on the strength of their lead. Chris Pine is good as Jack Ryan. He does his action-man thing, and it works. But, he also sculpts it a little to fit the character too. His best work comes playing off Branagh, Knightley, and Costner.

Summary & score: While Jack Ryan: Shadow Recruit adds nothing new to the action thriller genre, it is still yet another good film joining many other good and great films that the genre has produced in recent memory. 6/10

Movie of the Week – The Life and Death of Colonel Blimp

This week’s movie: The Life and Death of Colonel Blimp (1943).

The war/romance drama looks at British soldier Clive Wynne-Candy over the course of his life. As a dashing young man, he is full of honor as well as piss and vinegar, but forty years later now a General he might be too old-fashioned for the times (WWII’s total war). The film details Wynne-Candy’s three major relationships with women and his friendship with German officer Theo Kretschmar-Schuldorff.

The film is the Archers’ (Michael Powell and Emeric Pressburger) first masterpiece (and one of my personal favorite films). The Archers made some of the best British films of the 1940s. Their must-see include: this film, A Canterbury Tale, ‘I Know Where I’m Going!’, A Matter of Life and Death, Black Narcissus, The Red Shoes, and The Small Black Room. On The Life and Death of Colonel Blimp, the Archers worked with frequent collaborators composer Allan Gray, cinematographer Georges Perinal (brilliant cinematographer who would go on to do some of the best photography work in film history with the Archers Jack Cardiff was the second unit D.P.), and production designer Alfred Junge.

The Archers also worked with great actors on the film, all of whom frequented their films. It stars Roger Livesey, Deborah Kerr, and Anton Walbrook. All three are just fantastic.

The Life and Death of Colonel Blimp is a hard film to describe. Watching it is a transformative experience. It is such a well-made and utterly compelling film (both narratively and aesthetically) that most other work feels inadequate or lacking in some respect. Just the Technicolor photography and production design alone is profoundly beautiful (though, I think that the Archers produce something even better with Black Narcissus and The Red Shoes in this respect). The story and performances, however, are almost second to none in film history. This is just a masterpiece in every respect – sadly one that very few have seen (and one that is often forgotten, as is most of the Archers’ work, even though I think they are among the five best directors in cinema). This is a must-see for everyone wishing to have a strong knowledge of the best films (as there is maybe none better – though, honestly, I do go back and forth between this and The Red Shoes as my favorite).

Trailer: Here

Available on: Blu-ray and Video On-Demand

her (2013) – Review

Review: Her is a fascinating and aesthetically compelling look at loneliness in the age of modern relationships. The film is about Theodore Twombly, a writer who has recently split-up with his wife and companion since childhood (seemingly not by his choice). Theodore is stuck in the past, the good and the bad memories haunt him and he is unable to move forward, transfixed in a stupor of loneliness and despair in a world that seems closed off. That is until he installs a new intelligent and aware operating system, which names itself Samantha. Theodore finds that he has a real connection and affection for Samantha, and even thinks he might be falling in love with her. But is it just another excuse for him to continue to isolate himself from what is happening outside in the world of actual physical people? The film is set in Los Angeles in the near future.

The concept behind Her is a bit weird – a man who falls in love with his OS. But writer-director Spike Jonze wins the audience over by making his lead character Theodore very relatable and by using the concept as a way to explore the transformation of modern culture, including modern relationships. That is not to say that the film does not exhibit very quirky moments and characters, as it does – because, after all, it is still a film by Jonze, a champion of the aesthetically interesting and conceptually strange.

The look of the film is fantastic. Things more or less feel similar to today, just a bit more compartmentalized with LA (doubled at times by Shanghai’s Pudong district) looking more congested (if that is possible) and featuring a lot more towers, interesting architecture, and more colorful displays and lights (LA becoming more like an Asian metropolis similar to Pudong or Tokyo).  People are often alone in the film, engaged with their electronic devices. Yet there are still people conversing with other people in public as well; it is not a society that has completely become modular, but it certainly seems to be trending that way.

With the advent of this new advanced intelligence and awareness in the OS, people find that they can have full experiences (be it friendship or on a deeper emotional level) without interacting with real people. It is a logical next step in a culture that hires third parties to compose personal correspondence for them (the job Theodore has – he writes letters for people), a culture that is constantly online, whose main method of communication involves technology, a culture that is not too far removed from our own. Already, we interact socially online to such an extent that real life contact is seemingly becoming a secondary activity, reserved only for specific occasions and activities or a particular few people. We are content to communicate via technology, often without the experience of actual human interaction (i.e. sending text messages instead of physically talking to someone in person or on the phone). Convenience has become paramount, overshadowing other forms of interaction. Isolation is also in many ways easier and less stressful. There are so many expectations when one ventures into the world. Isolation and technology offer a protective shield.

Thus, in our world, our culture is it not impossible to believe that the next step involves people engaging in meaningful relationships with objects that emulate human emotion and for all intents and purposes can imitate to the full extent possible the same experience that people can have relationship wise through technology (i.e. conversations via phone, text, email, et al.). If this is possible, what is the difference between engaging emotionally with a real person and software if the interaction is the same? In this way, Jonze makes Her and Theodore’s relationship with Samantha feel real and emotionally vital. This scenario, while maybe conceptually strange, is in fact very believable in context; plus, the audience actually cares about not only Theodore but also Samantha. She might as well be real because her personality and emotions sure seem to be.

And yet, Jonze seems to be making a clear statement with the film that we as a culture have become too dependent on technology as a means of social interaction. The film is completely respectful to Samantha, treating her as an entity just as entitled to existence as Theodore, but it seems to have an overall negative opinion of humanity allowing society to become a grouping of isolated individuals who purposely cut themselves off from the physical social world. Jonze does not like that print is dead. That physical music (like records) is a novelty. That a beach crowded with people actually features very few people who are in large to moderate social groups. He does not like that we all walk around glued to our phones or with earbuds thereby closing ourselves off from those around us. In this way, the film is actually really sad.

Theodore is extremely lonely, almost cripplingly so. He is so affected by his breakup with Catherine (his wife) that he just cannot imagine jumping into another real physical relationship. There is a gloomy cloud that follows him around (despite his rather bright wardrobe choices). He is just a sad individual, and to some extent has every right to be.  It is difficult to lose what you believe is everything you ever wanted, to lose the person you thought was everything you needed. In this way, Theodore is very relatable for the audience. We have all been there (to varying degrees). Heartbreak is a powerful emotional experience, one that often holds us back. We can recognize ourselves in Theodore – his sadness, his loneliness, his guarded hope that maybe one day he will be happy again, and his fear of being hurt again. Samantha too engages us. She too wins us over with her spunkiness and charm, her wonder, joy, and excitement for life. It is infectious, because for us life has become mundane and tedious (maybe not all the time, but enough that we are drawn in by visceral passion).

But, Jonze’s argument against what our culture has becomes starts to become more and more apparent as Theodore’s relationship with Samantha develops and changes. Humans need physical interaction. It is a vital part of our ability to experience life and emotions fully. We are so lonely and life has become so tedious because this physical interaction (and not just random meaningless sex) is a necessary component and it is missing. We need to experience the world and not just look at pictures; we need to have things in our hands to fully engage in the experience (be it reading an actual book, playing an actual sport or game, taking the record out of its sleeve and putting on the player) rather than just looking at the same screen all day. We need to do these activities with other people who are there in person and not just avatars online, because at that point does it even matter if they are real or not.

Her works because it is touching and emotionally captivating, and to some extent a rallying call to get out there and live our lives. We care about these characters and see ourselves in them (our own hopes, dreams, insecurities, and pain). And on top of all that, Jonze presents a world that is vibrant with aesthetically alluring sights and sounds. The film is a masterwork of style, narrative, and emotional resonance.

Technical, aesthetic & acting achievements: Spike Jonze is known for his catalogue of great and interesting music videos (including The Breeders’ Cannonball, Weezer’s Buddy Holly, the Beastie Boys’ Sabotage, Fatboy Slim’s Weapon of Choice, and Kanye West’s Flashing Lights). Jonze has also made some of the most creatively striking and eccentric commercial films. His first two, collaborating with writer Charlie Kaufman, are both great: Being John Malkovich and Adaptation. His third was the uneven adaptation of Where the Wild Things Are. While aesthetically quite good, it just does not work once Max is immersed in his imaginary world where base emotions rule. With Her, Jonze has made his best film to date. It is just as aesthetically dynamic and interesting as anything he has made, but where it really succeeds is in its ability to capture and really speak to both the plague of social technology that is actually making mankind antisocial and the emotional consequences that have arisen as a result (chiefly an unshakable collective loneliness). I also really like Jonze’s creative imagining of Theodore’s interaction with others (both human and software) online. The sex chat room scene is hilarious and the Alien Child in the game is equally hysterical. Despite the film having a deep sadness to it, I enjoy that Jonze still infuses it with humor and a sense of hope for the future.

Across the board the film is among this year’s best aesthetically speaking. Arcade Fire’s (working with Owen Pallett and Karen O as well) score is fantastic. It perfectly captures the emotional tone of the film, while also fitting the stylistic look as well. Hoyte Van Hoytema’s cinematography is exceptional. The colors are radiant, yet the sky seems to have solemn tone (probably because both LA and Shanghai have a ton of pollution that sort of just hangs in the air) creating a striking juxtaposition.  K.K. Barrett’s production design is really the standout technical achievement, however. His work too is mostly features a very subdued color pallet, which allows Theodore to really pop (with his red shirts). The overall set design is phenomenal as well (I wish Theodore’s flat was my own). The whole look feels very artistic and specific to the narrative and tone.

The cast too is wonderful. Portia Doubleday, Kristen Wiig (in a voice-role), and especially Olivia Wilde are great in small supporting roles. Chris Pratt is also fantastic and hilarious in a small supporting role. He just brings so much energy and charisma even with a tiny amount of screen time. The same can be said for Rooney Mara. She is mesmerizing as Catherine, even though she is mostly featured in flashbacks and has little screen time. She is able to convey so much in so little time, and her work is paramount to fully understanding Theodore. She is brilliant. Amy Adams just seems to be a chameleon this year. From her work in Man of Steel and American Hustle to her work in this, she plays completely different, yet all engaging, characters. Here, she plays Theodore’s friend Amy, a game designer who (of course) is a little quirky but feels alive and vital (she is not just the typical pixie dream girl). She is Theodore’s connection to humanity. Scarlett Johansson voices Samantha, giving her so much life and substance that the audience completely forgets that she is nothing more than hyper intelligent software – she is alive as far as the audience (and Theodore) is concerned. It is quite a feat considering that she gave her whole performance in a vocal booth without the interaction of the other actors. Joaquin Phoenix too is excellent as Theodore. He is able to emote so much, the audience can feel everything he feels. He is also able to make Theodore a complex character. He is primarily sad and lonely, but there is much more going on as he struggles with past scares/joys and future hopes/fears. It is among 2013’s best leading performances.

Summary & score: Her is a romance unlike any other conceptually, but through the skill of Spike Jonze and his cast it is able to perfectly capture the modern human condition in our culture of social isolation. 9/10

Lone Survivor (2013) – Review

Review: Lone Survivor is an intense war action/drama that succeeds as a rousing tale of survival against all odds. The film is about the 2005 Operation Red Wings. A four man SEAL team, including Marcus Luttrell, Michael Murphy, Danny Dietz, and Matt ‘Axe’ Axelson, is dropped behind enemy lines in Afghanistan to do recon on a top Taliban target. However, everything goes wrong when the four SEALs come across three goat herders and are face with the moral quandary of whether to let them go and risk likely discovery by a large Taliban force or kill them and keep their presence in the area unknown. The team decides to let the herders go. Now, they are confronted with impossible odds as a large army of Taliban fighters moves in on their position (plus, their communications are down and they are somewhat trapped on a mountainside).

Writer-director Peter Berg does almost everything right with his treatment of this true story. It is respectful to all parties involved (more or less – I mean, the Taliban is clearly the evil villain, but I think most would agree to that being a true statement in almost every case), but is triumphant as a heroic (patriotic) story (with a very surprising twist). The politics are difficult – should American troops even be in Afghanistan is a reasonable debate – however, Berg side steps politics for the most part. Instead, the film just tells the story of the men involved in the operation in a straightforward manner and what happened to them.

The characters too are not used as platforms for political statements one way or another. Berg takes almost a procedural approach to the material. The SEALs, like most in the armed forces, are fighting for the guy next to them. They just want to do their job well and come home to their families safe. But with Operation Red Wings, that was just not the case.

Berg is unflinching in his portrayal of the action, detailing it very specifically with each wound and casualty felt. The film is intense and gripping to say the least. The shooting-style that Berg employs also gives it a very realist look and feel. The audience feels like they are right there in it with the characters, which is very effective. It is hard to not feel something at the end of the film – a rallying call of sorts for support and appreciation for our armed forces and the men and women who serve and sacrifice for an idea (ideal). To see these men, who are introduced to the audience as likable, average American men (though, highly skilled in their field), essentially tore apart is heart wrenching.

And yet, the film is manipulative as well. Berg knows just how to win the audience over emotionally. The SEALs and those that aid them are clearly the heroes while the Taliban is clearly the villain. There is no grey area (which is maybe a missed opportunity to explore the other side’s motivations – be them whatever they may be). In this way, the film is a bit like a classic western with white hats and black hats or cowboys and Indians. One side is stoic and heroic, while the other side is vicious, despicable, and just plain evil. Real life is not often that way. But again, as a treatment of this story from the perspective of the SEALs, the story is told very effectively.

On one hand Lone Survivor is a brutal and harrowing war drama and on the other hand it is a heroic action survival narrative, and it works as both. If nothing else, it is clear that these men desperately fought tooth and nail for each other and that is inspiring and heart breaking (because these men were like brothers to each other) regardless of one’s politics.

Technical, aesthetic & acting achievements: Peter Berg is at his best when he tells stories that are action driven but with good, likable characters (like Lone Survivor). I think his best and most entertaining film is still The Kingdom, but Lone Survivor is a close second (I also like Friday Night Lights). Lone Survivor has a strong emotional impact that is sure to resonate with audiences (especially in America).

The film feels very authentic overall, and that is thanks to Tom Duffield’s production design steeped in realism and Tobias A. Schliessler’s naturalistic cinematography. The film almost feels like a documentary at times, especially with the great real footage used during the opening credits detailing the rigors of the SEALs’ training program. The score and music by Steve Jablonsky and Explosions in the Sky also play a big role in the emotional impact of the film, heightening the action and emotional beats.

For the most part the film is delivered as a story and action driven narrative, but sneakily Berg actually seems to make the action and story feel secondary to the characters, which is chiefly the reason why this film is so powerful. It is not so much that these characters are terrifically developed, more that they are just very relatable and likable. The film also benefits from strong performances across the cast, who deliver work that too feels very realistic (most of the extras were played by real life members of the U.S. armed forces). The audience cares about these characters, which makes all the difference in the world. Alexander Ludwig, Eric Bana, Ali Suliman, and Rohan Chand are all very good in small supporting roles. Ben Foster is a fantastic character actor. Here, he plays Axe with an edge. He is a soldier who cares deeply about his friends and is willing to cross moral lines to see their survival. The film presents its moral question, quickly goes over the options with some discussion to which is ‘right’, and then the SEALs decide and move forward without dwelling on their choice. They simply do what they think is ‘right’ at the time, in the moment. Emile Hirsch plays Danny, the team’s radio operator. He plays his character as a man in awe of his fellow soldiers, a man who very much wants to live up to their high standards and expectations. Taylor Kitsch plays Lieutenant Michael Murphy, the leader of the four-man team. Murphy received the Medal of Honor for his actions on the day, and Kitsch plays him with strength and courage under fire – a man that all the others like and respect. Mark Wahlberg plays Marcus Luttrell, the lone surviving member of the SEAL team. He captures the spirit of perseverance with his will to keep going. He also creates a strong emotional connection with the audience.

Summary & score: Lone Survivor is a very good war/action drama, telling an incredible story of survival and humanity in the direst of circumstances. 7/10

Movie of the Week – Once Upon a Time in the West

This week’s movie: Once Upon a Time in the West (1968).

Frank, a ruthless assassin working for the railroad, murders Jill McBain’s husband and family with the ambition of taking her land and selling it for a fortune to the railroad. He wants Jill for himself. However, a stranger with a harmonica and Cheyenne, a notorious desperado, make an unlikely team hired by Jill to try and kill Frank.

The film is written and directed by Sergio Leone – the master of the spaghetti western. Leone made his reputation with the brilliant The Man with No Name Trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly). However, Once Upon a Time in the West is probably his greatest achievement (his gangster film Once Upon a Time in America is great too). Leone worked with frequent collaborators composer Ennio Morricone (whose score is absolutely phenomenal and iconic), cinematographer Tonino Delli Colli, and art director Carlo Simi.

Claudia Cardinale, Henry Fonda, Jason Robards, and Charles Bronson star in the film, while Gabriele Ferzetti, Woody Strode, and Jack Elam feature in support.

In terms of westerns, there may not be a better film than Once Upon a Time in the West. For me, the genre’s best include this film as well as things like: The Big Country, The Man Who Shot Liberty Valance, A Fistful of Dollars, Unforgiven, Open Range (a personal favorite that is often overlooked), Deadwood, The Assassination of Jesse James by the Coward Robert Ford, and True Grit. The score alone makes this a worthwhile endeavor – or maybe its place among the 100 Best Films of the 20^th Century (number 24 on IMDb’s Top 250) – but really, it is a must-see for fans of westerns.

Trailer: Here

Available on: Blu-ray and Video On-Demand

Music Spotlight – Favorite Music of 2013: Part 5

Talib Kweli – It Only Gets Better

It Only Gets Better is off of Talib Kweli’s album Prisoner of Consciousness. It features Marsha Ambrosius and is produced by J. Cole. The song quickly kicks off to a great start with Cole’s infectious production, while Ambrosius is fantastic on the hook. Kweli, too, is in top form as his verses feature his usual social consciousness and word play. Kweli continues to be a vital part of hip hop’s social and political voice, and this track proves that he is still a relevant member of hip hop’s current sound as well (which seems to have mostly shifted to more mainstream artists). Available for download: here

Tegan and Sara – Closer

Closer is off Tegan and Sara’s new album Heartthrob, and it is produced by Greg Kurstin. The Quin Sisters have always firmly had a foot placed in pop music, but with Closer they seem to have fully jumped into radio-friendly pop music (and not in a bad way). The song just explodes with noxious pop fun from the beginning. It has that great quality (mostly exhibited in 1980s’ pop classics) by which its listener immediately finds themselves in a good move, and more than that ready to just gleefully bounce around. Available for download: here  

Thee Oh Sees – Toe Cutter – Thumb Buster

Toe Cutter – Thumb Buster is off of Thee Oh Sees’ album Floating Coffin. What stands out right away about the song is the wonderful heavy distortion on the guitar. It is all-consuming and takes us back to our fond memories of grunge. But, the song is not very grunge-like when the distortion cuts out and we are left with a much more psychedelic comedown, content to merely frolic in the clouds. On a side note, the album cover is terrifying and oddly engaging. It is weird, but I love it. Available for download: here

Wampire – The Hearse

The Hearse is off of Wampire’s debut album Curiosity. The Portland, Oregon, duo delivers a fun and fantastic indie rock/pop song with a horror theme. The song is very catchy with its pop sensibilities but also has a nice creepy vibe and texture to it. Speaking of album covers. I am not sure if Wampire has 2013’s best or worst. It is brilliantly tacky. Available for download: here

The Weeknd – Kiss Land

Kiss Land is off The Weeknd’s debut studio album Kiss Land (following up three brilliant mixtapes). Like the song above, Kiss Land has a very creepy vibe to it, as Able Tesfaye sings about being on the road forever and being intoxicated for most of it (which is warping his perception of the world). Silkky Johnson’s production is both inviting and alienating – this is because in moments it pulls in the listener with engaging drums but then starts to create a feeling of uneasiness, as the music seems to spiral (as if the listener too is trapped in a constant state of drunkenness, past the point of elation). Available for download: here

Music Spotlight – Favorite Music of 2013: Part 4

London Grammar – Strong

Strong is off of London Grammar’s debut album If You Wait. It is produced by the band as well as Tim Bran and Roy Kerr. The song feels ethereal, finding great heights thanks to Hannah Reid’s big and powerful voice (which is really the band’s greatest attribute). The track is inviting with its easy listening vibe, but Reid’s siren-like vocals create a much more involving experience than merely a song just happily playing in the background. Available for download: here

Mikal Cronin – Weight

Weight is off of Mikal Cronin’s second album MCII. The San Francisco indie rocker finds a great sound with the song (and album); equal parts rock and pop with sort of a slight punk edge. The song is catchy but never feels commercial (which is refreshing). It is a bit softer than his past work, but I think that might be a welcomed change. Available for download: here

MØ – Waste of Time

Waste of Time is off MØ’s debut album No Mythologies to Follow (due February 24, 2014). The Danish singer finds a good balance between electronically influenced pop and her own sound (in a marketplace flooded with similar artists). What works so well for the track is that it feels like a lot of genres sort of forced to cohabitate in the same space, but instead of sounding noisy and chaotic it all comes together. Available for download: here

Pusha T – Nosetalgia

Nosetalgia is off of Pusha T’s solo debut album My Name Is My Name. It features Kendrick Lamar and is produced by Nottz and Kanye West. The beat is a great minimalist track with a shrill guitar lick, but really it is the verses from Pusha and Kendrick that make this song pop. Pusha goes in about his past as a cocaine dealer and how that shaped his life, only to have Kendrick follow up with how his father was a junkie and how that shaped his childhood. The juxtaposition is fantastic and something new. It is one of the best hip hop tracks of 2013. Available for download: here

Sundays – World We Own

World We Own is off of Sundays’ debut EP Of Eros And I. Sundays present a sound that is both sort of celestial and poppy. It feels vast, but you can also dance to it (and it is catchy in a sly sort of way; it just creeps up on you). Available for download: here; Music Video: here