Hanna Review

     Hanna, the new film from director Joe Wright, is a visually stunning piece of film making, in which a talented cast of current and rising stars play out a truly twisted fairy tale. Though the movie does lose itself in its own rabbit hole towards the end, the wacked-out, creative jolt that comes before makes the movie totally worth the price of admission.



via thereviewer.net



     Joe Wright, director of the vastly under appreciated Atonement, presents the story of Hanna, a young girl who is raised in the woods by her father to kill the woman who killed her mother. Tangled this is not. But Wright has assembled a cast that understands their role in this upside down wonderland. Hanna is played to perfection by Saoirse Ronan. The young girl is a completely believable mix of deadly precision and youthful wonderment. Again, Ronan proves that she is a formidable talent. As well, the consistently under-utilized Eric Banna employs a great combination of heart and bravado, in playing the father that has protected Hanna from the outside world for so long. Of course, no fairy tale would be complete without an evil witch and her grotesque minions. Cate Blanchett steps into the evil stepmother role with a cold-hearted, southern-tinged panache that is devilishly good. At the same time, Tom Hollander delivers an engagingly maniacal performance, as the head henchman Issacs. Hollander manages to steal every scene he is in, simultaneously repulsing and attracting the viewer. The rest of the cast is quite engaging, from the young girl (Jessica Barden) who plays Hanna's only friend, to the magical elf-esque character created by Martin Wuttke, the actors all seem to be synced into Wright's odd wavelength.
     Wright himself is a force to be reckoned with behind the camera. The first three quarters of the film seem as though every shot and every moment have been meticulously imagined by the director. This attention to detail and adherence to tone result in some of the most awe-inspiring cinematography in recent memory (James Cameron eat your heart out). Of course this occasionally means that proceedings seems overly mannered. That said, there are countless sequences in which the audience sits flabbergasted simply trying to take in the visual showcase that Mr. Wright has concocted. This ocular feast is complimented greatly by the Chemical Brother's pitch perfect score score. Though largely techno-based, the score adds genuine intensity to proceedings, the pounding bass and synthetic textures juxtaposing nicely with eerie silences. However, Wright's Hanna is far from flawless. Towards the middle of the film, the pacing seems to fall behind, losing focus on the events at hand. This is quickly rectified, but the conclusion of the film is simply lacking. Where the earlier proceedings seemed to adhere to some sort of absurd logic, the final act just happens. Characters motivations become blurred and their decision making seems weak at best. It's a shame because if Wright and company had nailed the ending, providing some sort of powerful statement, they would have created a new age action classic. Still, for those willing to accept it's clear imperfections Hanna provides a unique film going experience. 

via cromeyellow.com

     Taking all of these factors together the viewer is left with a movie that is equal parts Grimm's fairy tale, Jason Bourne, and Stanely Kubrick. An action movie with foreign film sensibilities.  A coming of age story in the world of assassins. A techno infused tale of innocence lost. It's an engagingly weird film, that is almost certainly destined for cult classic status in the coming years. Hanna, is not for everybody, but if you enjoy movies that are a little different, a little off, and a little twisted then I say go for it. Everyone else, you've been warned.

Grade: B

Trailer:

Source Code Review

     Source Code, the recently released sci-fi thriller from Moon director Duncan Jones, is built around the premise that one man can essentially go back in time to try find the perpetrator of a deadly terrorist attack. Jake Gyllenhaal's hero has eight minutes at a time to accomplish his mission. If only the last three minutes of the movie didn't spoil the whole affair.

moviebuzzers.com

     Science fiction films are generally built around the fantastic and the improbable, occupying the grey area between modern scientific possibilities and glorified magic. Source Code is no different. The movie takes place in a reality in which military technology allows individuals with particular medical traits to relive past events through other people's memories. This technology, the titular "Source Code," is what Gyllenhaal's Colter Stevens uses to continually relive eight minutes before a horrific attack on a Chicago bound train, in order to discern who committed the crime. In actuality, the movie plays out like an action packed version of Groundhog Day, but Duncan Jones, along with his talented cast, make sure that the journey is both visually stunning and (somewhat surprisingly) emotionally grounded. Jake Gyllenhaal, as the movie's protagonist, is excellent, providing just the right mixture of confusion and charisma to carry such a potentially ridiculous idea. He also gets some great help from his supporting cast. Michele Monghan's Christina is an affable romantic foil to Stevens, while Vera Farmiga brings a motherly depth to the role of Steven's military handler. Even Jeffery Wright, (SPOLER ALERT) is able to make his cliched semi-villain rise slightly above convention by playing him with a simmering intensity.  
     Though the cast does a commendable job much credit for this film's success rests in director Duncan Jones' ability to keep the action moving while continually the audience interested through twists and reveals. One can easily complain the Jones' approach to the film grows a little repetitive, especially since we see basically the same shot every time we enter the source code. However, any short comings in this stylistic choice are easily forgiven in light of some truly inventive moments behind the camera. Jones' seems to have strong grasp of how to employ is CGI trickery, and as a result he consistently provides some great visual sequences for audiences to enjoy. These moments are heightened even further by Chris Bacon's score which is manages to seem retro and modern at the same time. Overall, the film maintains a tone somewhere between the dark paranoia of last year's Inception and the clear cut romanticism of this year's The Adjustment Bureau. Well, until the end.
    It's not clear who to blame for this total failure of a conclusion. It seems to me that the movie was built to end a few moments earlier than it actually does. Jones' provides an excellent final shot to end the action, but suddenly the film chooses to continue on. Sure enough the final minutes almost manage to sour the entire experience. Almost. As it stands, Source Code is a respectable entry into the sci-fi action genre, that I imagine most people will enjoy. Still, with a stronger hand in the editing suite this could have been something more.

Grade: B

Trailer

If you've seen the movie and would like to read more on the debate over the ending, Cinematical has a great article for your consideration.      

Dan

Paul Review

Paul, the new comedy movie staring the always lovable duo of Simon Pegg and Nick Frost, is filled with non-stop sci-fi references that are sure to make any fanboy feel like Luke Skywalker inside Han's Tauntaun, nice and warm. Sadly, the frequent (and occasionally hilarious) pandering to nerds of all affiliations, is not enough to save this movie from a striking lack of creativity.




via moviecarpet.com

The picture, directed by Greg Mottola (of Superbad fame) and written by Frost and Pegg, suffers greatly from a lack of coherent vision. It simply refuses to settle into a consistent tone, jumping wildly, haphazardly, and rarely successfully between being a loving homage to classic science fiction flicks and a poorly constructed raunchy road trip. The set-up is decent enough. Two British, goodhearted, comic book loving man-boys arrive in the United States in order to visit key sites of alien encounters and along the way, they bump into a real life alien of their own. Frost and Pegg, clearly playing geeked out versions of themselves, bring a congenial air to the proceedings. But Seth Rogen, voicing the CGI generated Paul, seems sorely out of place. Rogen's (now somewhat tired) brand of foul mouthed smugness seems heavy against both the lightness of his human companions and the animation of the extra terrestrial. Of course, the comedic shortcomings of this flick do not rest solely on Rogen's voice over work. The script itself is often lazy, taking easy, unfunny, and somewhat offensive pop shots at tired American cliches, such as but not limited to, rednecks, Christians, and anyone living in or around a trailer. Adding insult to injury, the movie's running gags are often only mildly amusing, growing tiresome as the film progresses. Pegg and Frost have proven that they are more creative than run of the mill red state caricatures and poorly conceived breast humor.

 Possibly the best thing to come from the Paul set.

The cast supporting the main trio is a mixed bag. Jason Bateman is pitch perfect as Agent Zoil, the main  government official tracking down Paul. Batman hits line after line, using his hilarious deadpan timing. Kristin Wiig on the other hand is barely able to bring life out of her character. Though she seems to be genuinely trying, her SNL skill set is unable to overcome such a weakly written love interest. Bill Hader and Joe Truglio, do a passable job as bumbling operatives stumbling into the conspiracy, but rarely do the two generate anything above chuckles. Truth be told, the majority of laughs in this film come from the barrage of send-ups to beloved sci-fi classics. The more you know and or love Star Wars, Star Trek, Close Encounters of The Third Kind, E.T., Alien, Predator, The X-files, or any other alien production with a cult following, the more likely you are to laugh. Still, simply referencing these properties is not enough. As Shaun of The Dead and Hot Fuzz (both hilarious Frost/Pegg collaborations) display, great genre spoofs must rise above name dropping and fully commit to the style they are emulating. In the end, Paul fails because Mottola refuses to go all in with the old school sci-fi vibe that the movie flirts with. Rather than attempting to be innovative, or at least trying to comment on the genre, Mottola chooses to return to his safe zone of crude sarcasm. The result is Paul, a movie that leaves the audience with a few laughs and the distinct feeling that all parties involved could have done so much better.

Grade: C-

Paul Trailer

Cedar Rapids Review

     Ed Helms is a likable guy. His wonderful comedic turns in The Office and The Hangover aptly prove that the man can generate big laughs. Walking into Cedar Rapids I was excited to finally see Helms get a chance to take the lead. Walking out I was dissappointed at how badly the script and direction squandered his talent.

via radioplanet.tv

    The plot of Cedar Rapids centers around Tim Lippe (Helms) who must travel to Cedar Rapids to represent his local insurance firm at a regional insurance convention. In doing so he leaves behind his mundane life, and his (much older) girlfriend, played rather stiffly by Signourney Weaver, for a chance to make his boss proud. When Tim arrives at the the hotel where the gathering is taking place he eventually makes friends with a small band of other insurance agents who show Tim how to have a good time and from there the comedy ensues. Or at least it's supposed to. That's the problem with Cedar Rapids. As a viewer you keep waiting and waiting for the real comedy to start, when in reality, it never comes. It's like getting an endless supply of chips or bread at a restaurant but never eating the meal you ordered. Unsatisfying.

     Helms and Co. do a fine job trying to generate laughs where they can (John C. Reilly is especially good) but the script doesn't give them that much to work with. Even the enjoyable chemistry between Tim and Joan (played to perfection by Anne Heche) gets stifled by the proceedings. Director Miguel Arteta (who also directed the barely ok Youth In Revolt) and writer Phil Johnston have likable characters and a seemingly engaging premise, but they drop the ball. The movie can't decide whether it wants to be an all out crude comedy or an "quirky" indie flick. Unable, to develop a consistent tone the film fails on both counts. The movie has a few moments here and there that will make you chuckle but overall one can't help but feel like Arteta missed a golden opportunity with such a talented cast. Maybe next time Mr. Helms will get the movie his talents warrant.  

Grade: D+

Trailer:

Dan

Monsters Review

With a title like Monsters one would be forgiven for expecting writer/director Gareth Edwards' feature film to be an over the top ode to the classic creature flick of yesteryear. Oh, how wrong one would be.

via bscreview.com

Instead, Edwards' and company have delivered something far greater, a science fiction film that dares to take the action slowly. Set in modern times, the film takes place in an alternate universe in which giant extraterrestrial life forms have inhabited Central America for years. Since humanity has been unable to rid the region of these beings, the local governments have created an "infected zone", spreading from Costa Rica to a giant wall surrounding the United States, which is shut down from human travel every year while the creatures mate. The action of the film is generated by Andrew Kaulder, a photojournalist who must help get his bosses' adult daughter safely to the United States before she is stuck in the infected area. At first, the characters seem somewhat stiff and unbelievable but as their relationship of necessity advances, the actors settle into an enjoyable groove, and actually generate some excellent chemistry. This relationship is enhanced greatly by Edwards pronounced understanding of tone and rhythm. Rather than continuously bashing our heads in with perfunctory bedlam and noise, Edwards taunts the audience with it's alien creatures. By doing so, the movie allows the viewer to become attached to the two main protagonists while at the same time building eerie tension. In this way, when the monsters do appear it seems exciting and horrifying all at once. It should be noted that Edwards, who did all of the special effects work himself, doesn't not fall into the trap of overusing CGI, but instead chooses to use this digital wizardry to create a natural and realistic visual portrait. As a cautionary note, some viewers may be frustrated by the film's ending (I thought it was fantastic) but even still I believe the merits of the film outweigh any ill-spirit generated by the conclusion. Overall the film is an interesting mix of Jurassic Park, District Nine, and Before Sunset, that results in a memorable indie sci-fi journey. Thankfully, this is one picture where the human spirit is not overshadowed by the titular monsters.   

Grade: B+

If you're interested in the film already, then skip the trailer, it gives away little too much away for my taste, but if you need to see more, or just don't mind seeing things ahead of time then check the video below.

 

 Dan

The Creative Spirit's Place In An Academic World

Within this blog the majority of topics discussed deal with the creative arts. In my mind books, movies, music, and all of the arts are an essential element of the human experience, providing both release and reprieve from the mundane aspects of life which the current corporate mindset generates in the individual. Sadly, one need look no further than the multiplex (or the theme park that Broadway has become) to realize that the creativity which drives such important expression continues to run in shorter and shorter supply. The following video is of a brief speech given by Sir Ken Robinson on the role of educators in fostering the creative process. For anyone who has even the slightest passion for the arts, or finds distinct value in the exercise of creativity, this video should not be missed! 

Dan

The Adjustment Bureau Review

I like to think that the medium of film serves many functions. It can entertain, inform, and transport a viewer like few of the creative arts. George Nolfi's The Adjustment Bureau serves as a reminder that movies don't always have to be dark and ominous in order to be exciting. I found Nolfi's picture, starring Matt Damon and Emily Blunt, to be a fantastic throwback. A motion picture that encourages the viewer to enjoy a romantic adventure that is free of the cynicism and grittiness that seem to be prerequisites for modern film culture. I loved every minute of it. In the interest of full disclosure, I can already sense that many people will not find this film nearly as enjoyable as I have. To some extent, this response is fair. Unlike the advertisements, The Adjustment Bureau, is not a thriller in the vein of Christopher Nolan's Inception. Instead, the audience is treated to a classic romance, similar in tone to classic Jimmy Stewart films, but with an element of science fiction and fantasy. If you are not willing to accept the fantastic, the supernatural, and the unbelievable then this film is certainly not for you. Furthermore, the ending of the film is decidedly rushed, not quite fitting the journey that we've taken with the two protagonists. But by that point I had been delighted too much by the characters and the whimsical tone of the film to even care.

via flicksandbits.com

Speaking of the main characters, Damon and Blunt are fantastic together. The chemistry that these two actors bring to the screen is palpable and truly exciting to watch. Even when the film threatens to lose the viewer in ridiculousness the two leads, particularly Matt Damon, are there to keep the events grounded in humanity. The plot itself is straight forward and no one is going to be surprised by the "twists" (if you can even call them that), but the true magic of the film comes not from trying to figure out whats going to happen in the end, but instead just letting the movie sweep you up in the adventure. In this sense, the film is reminiscent of Wanted, in that it is able to rise above the absurdity of its premise and generate a fun ride for those that are willing to take the plunge. I have to say that first-time director George Nolfi does a superb job at weaving romance and suspense, while maintaing a consistent tone. It was refreshing to be able to actually watch the action on the screen instead of being dazed and confused by rapid editing and loud explosions. I could gush over this film all day, but instead I'll just say that this is one of my favorite films of 2011. If you have a taste for fantasy, classic adventure, or character based romance than do not hesitate to go see The Adjustment Bureau. If you're like me, you'll leave the theatre with a grin on your face, happy to be reminded that the movies can still take you through a door to another world.

Grade: A-

Dan   

Buried Review

Rodrigo Cortez's film Buried, presents a seemingly interesting conceit. A young truck driver in Iraq is kidnapped and buried in a box somewhere in the desert. For the sake of honesty, you should really know that the entire film takes place in this box. Depending on your taste in film this either sounds like an exciting filmmaking challenge or a stupid idea that limits the dramatic potential of the picture. Well, truth be told, it's a little bit of both.

via boxofficeboredom.com

The first 45 minutes of the film (about half of the movie) is not very strong. The writing and decision making of the main (read only visually seen) character is extremely suspect. Ryan Reynolds gives a fine performance, but the fact of the matter is that he is not given much to work with. In my mind, the first half of the film lacks coherent logic and instead chooses to rest upon audio cues and visual tricks to heighten suspense. Though some of these moments are executed to perfection, they feel forced and artificial, leaving the viewer with the feeling that Buried is more like an extended film school project than a full fledged and well designed thriller. In terms of creating a claustrophobic psychological study, Coretz falls short of true success. One  can say with certainty that the film is similar to 127 Hours but unlike Danny Boyle's films, Buried is not artistically or viscerally satisfying. As well, the political message of the film is poorly presented. Like Paul Greengrass' The Green Zone, Buried is heavy-handed with it's presentation of the Iraq War. Rather than treating the viewer like an intelligent human being, the film force-feeds it's message, thereby diluting it's power. If you're interested in a solid piece of political-thriller filmmaking that will not insult your intelligence, I highly recommend The Ghost Writer.

With all of this said, it should be noted that the second half of the film, particularly the final 20 minutes, is extremely engaging. The audience finally feels like they are part of the action rather than a passive observer  of this poor man's desperate situation. Also, the story finally starts to present some interesting dilemmas and twists. Still, it's too little too late and the viewer is left wishing that Cortez would have simply used the final portion of the movie to create an engaging short film. In the end, Buried is a weak entry into the thriller genre.        

Grade: C

Dan

Get Low Review

Life, death, redemption, and the southern landscape. These are the main ideas and motifs that drive the action in Aaron Schneider's first directorial feature, Get Low. The main premise of the film is that an old curmudgeon, played to perfection by Robert Duvall, wishes to have his own funeral while he is still alive. The film is visually appealing, showing a distinct aptitude for the use of light and dark in order to convey emotion in the characters. It also doesn't hurt that the settings presented in the film are beautiful, large wood crafted churches, intermingle with vast, untouched landscapes, and large white colonial houses, to paint the picture of world not yet tarnished by the pollution of modern man-made life. Even though the setting is picturesque, the plot of the film is rather straight forward, and occasionally too thin. However, the fine actors that Schneider assembled serve to raise the film above it's humble story.

Robert Duvall is a pleasure to watch in the lead role of Felix Bush, while Bill Murray turns out yet another hilarious and nuanced character in his portrayal of Frank Quinn. When I say that he wouldn't have been out of place in some sort of Wes Anderson inspired, Coen Brothers directed western I mean that as a very high compliment. The final piece to this delightful acting trifecta is Sissy Spacek, whose character, Mattie Darrow, is both strong and vulnerable, providing an excellent display of the complexity that exists in the human experience. The only weak part of the cast is Lucas Black, who plays the young idealistic foil to Robert Duvall's grumpy old brute. Black can't really hold his own standing among the veterans. At the same time, it should be said that Black's role is extremely weak. While his character should be the eyes through which the viewer understands the action, he is simply too underdeveloped and too uninteresting to invest yourself in. In the same vein, the movie itself has major issues of rhythm. The film takes a solid 20 minutes too long to get going and even when it does the editing and writing create unnecessary confusion in the viewer.

On the other hand, the score for the film is pitch perfect, building and easing tension with the southern charm that only string basses and banjos can bring. Overall, the film keeps you interested but comes across as underdeveloped and somewhat of a waste of such a talented cast. I wanted to love Get Low but I left feeling only barely satisfied.

Grade: B-

Dan

Catfish: The Movie About Facebook You Didn't See

While watching Catfish, two thoughts kept running through my head. First, Hitchcock would be proud. Second, finally a movie that actually understands the role of social networking in our lives. This film is presented as a documentary, and the filmmakers are sticking to their guns, claiming that this is a work of non-fiction. Either way, Catfish is an entirely engrossing, engaging, and entertaining docu-thriller. The way the filmmakers use different forms of modern technology to weave their twisty little tale is fascinating to watch. Catfish stands as both a nod to the past and a strong look toward the future of filmmaking. In terms of the past, the film displays an acute understanding of the fundamental techniques (the subtle use of musical cues to build tension combined with quick breathes of comedic relief) that will make an audience clinch their fists and writhe in their seats, wanting, and at the same time not wanting, to witness  the coming revelations.

via independent.co.uk

However, the film also comes across as strikingly modern. The character's display a wit and awareness that is markedly current. Furthermore, the presentation of technology comes across less as a gimmick (I'm looking at you Paranormal Activity) and more as an accurate portrayal of the way that the both the Internet and other advancements have slowly invaded and integrated into our daily lives. In the end, I found Catfish to be an excellent little film. The movie was not only entertaining, but it also engaged the viewer, forcing them to question both the contents of the film, and themselves. I know this film looks odd but if you're in the mood for an above average thriller in the Hitchcock tradition, I highly recommend Catfish.

Grade: B+

Need more convincing? Here's the trailer.

Dan

Castle Takes It To Another Level

Sometimes when a T.V. show first hits the air, it doesn't quite have its mojo yet. Maybe the characters don't really mesh, or perhaps the show hasn't found its focus. Still, there's something about it that keeps you coming back each week. For me this description easily applied to Nathan Fillion's Castle. Though the series has always been fun to watch, it often felt like it hadn't found itself yet. However, the episode that aired this past Monday, kicked the show into a whole other gear. Instead of resting solely on Fillion's charm, this episode weaved an engaging narrative that showcased just how awesome this show can be. Now, I know that a procedural show can't always have epic episodes. That said, I think Castle may finally be growing into the show we all hoped it could be. So, if you've been on the fence about ABC's Castle, I highly recommend you hop on board, because it's getting good.

And, just in case you don't believe me, I've included both parts of the two part event below. Now what's your excuse for not watching?

Part 1: Setup



Part 2: Countdown



Dan

2011 Oscar Breakdown

Well gang, it's that time of year. The time where we all turn to the Academy of Motion Pictures and Sciences to tell us what the best movie we saw this year actually was. It's the time to root for your favorite films, hoping to have your opinions proven as superior to those of your peers. It's the time, where we all get to be critics, fans, and movie stars. It only comes once year. It's the 2011 Oscar Ceremony. Sure, the whole thing may amount to a hill of beans but for those of us who enjoy movies and pop culture in general the Academy Awards are like the Super Bowl. We may not like whose favored to win, the commercials may suck, and the "entertainment" may not work (I'm looking at you The Black Peas and the abomination that was your halftime show), but at the end of the day we're going to be there watching what goes down. So in honor of this nationwide cultural tradition I've decided to do a quick rundown of the main categories, choosing who I think will win, and which performances/movies I enjoyed the most.

via CBSnews.com

Best Picture
-- "Black Swan,"
-- "The Fighter"
-- "Inception" 
-- "The Kids Are All Right"
-- "The King's Speech"
-- "127 Hours"
-- "The Social Network"
-- "Toy Story 3"
-- "True Grit"
-- "Winter's Bone"
                                                            

My Pick: 127 Hours. To me this film packed more of a punch, emotionally and visually, than any other film this year. The journey that Boyle and Franco take us on, as the viewer, is simply incredible. The sheer magnitude of what the film offers is unmatched by its competition. As one of my favorite critics, Emmanuel Levy, wrote, this is "a uniquely cinematic work, which is viscerally, emotionally, and intellectually satisfying." It baffles me that this film isn't really in the running for the top prize.

Will Win: The Kings Speech. I'm not sure how the Weinsteins did it, but they managed to overtake the early favorite, The Social Network, and with this congenial, if somewhat uninspired, British feature.   

  via cbsnews.com

Best Actor
-- Javier Bardem, "Biutiful"
-- Jeff Bridges, "True Grit"
-- Jesse Eisenberg, "The Social Network"
-- Colin Firth, "The King's Speech"
-- James Franco, "127 Hours"


                                                    



My Pick: James Franco. I hate to sound like a broken record but I can't help but feel that James Franco gave the most commanding performance this year. Though front runner Colin Firth, gave us excellent portrait of struggling leader, I was more impressed with the way in which Franco, limited to essentially one location, one costume, ect. was able to to convey such a wide range of emotions. Unlike Colin Firth, who had the superb support of Geoffrey Rush, Franco had to carry his entire film, and he did so with an understated power that is at once believable and moving.

Will Win: Colin Firth. There is no doubt that Colin Firth has this award locked down.Good for him, he's a tremendous talent and his role was expertly portrayed.

via greencelebrity.com

Best Actress 
-- Annette Bening, "The Kids Are All Right"
-- Nicole Kidman, "Rabbit Hole"
-- Jennifer Lawrence, "Winter's Bone"
-- Natalie Portman, "Black Swan"
-- Michelle Williams, "Blue Valentine"




                                                                   


My Pick/Will Win: Natalie Portman. That's right, for once my opinions are going to match the victor in a category. Though Michelle Williams gave a raw and powerful performance in Blue Valentine, Natalie Portman's role in Black Swan manages to rise above the competition. There isn't a moment in Black Swan, where Portman isn't engaging and interesting to watch. Whats more, she's able to elevate what should be just a simple horror movie, into a psychological character study. It's quite impressive and she deserves all the awards that are heading her way.    

via cbsnews.com

Supporting Actor
-- Christian Bale, "The Fighter"
-- John Hawkes, "Winter's Bone"
-- Jeremy Renner, "The Town"
-- Mark Ruffalo, "The Kids Are All Right"
-- Geoffrey Rush, "The King's Speech"


My Pick/Will Win: Christian Bale. This category may contain the most performances of worthy of recognition this year. Geoffrey Rush was an absolute delight to watch in the Kings Speech and Jeremy Renner owned The Town so much, that I found myself wishing the movie had followed his engaging character. With that said the best supporting performance by a male actor has to go to Christian Bale in The Fighter. Though one might be quick to deride this pick as another case of an actor getting praise for changing their appearance, that is simply not the case. Though Bale's physical transformation was incredible, what was even more exciting was the way in which he embodied his character so fully. Bale brought brought heart, humor, and pathos to his film and in the process will earn himself his first Oscar.

via cbsnews.com

Supporting Actress
-- Amy Adams, "The Fighter"
-- Helena Bonham Carter, "The King's Speech"
-- Melissa Leo, "The Fighter"
-- Hailee Steinfeld, "True Grit"
-- Jacki Weaver, "Animal Kingdom"



My Pick: Hailee Steinfeld. This category was another really tough one to choose between. Both Amy Adams and Melissa Leo gave outstanding performances in The Fighter, but at the end of the night I have to go with the newcomer. Her character in the Coen brother's True Grit was exceptional, portraying equal parts strength and wit. Audiences came in looking forward to Jeff Bridges and Matt Damon, but left talking about how Steinfeld stole the movie.

Will Win: Melissa Leo. Opinion on whose going to win this category is decidedly mixed. It seemed for quite awhile that Melissa Leo was going to win this contest. But then she created a little Oscar baiting scandal by releasing distasteful ads for her nomination (see more here). So now there's talk that Steinfeld may pull it out (which I would love to see). But alas my money is still on Leo.

via chinadaily.com

Director
-- Darren Aronofsky, "Black Swan"
-- David O. Russell, "The Fighter"
-- Tom Hooper, "The King's Speech"
-- David Fincher, "The Social Network"
-- Joel and Ethan Coen, "True Grit"









My Pick: Joel and Ethan Coen. Alright, I know this isn't the trendy pick, but I loved the Coen Brothers' direction in True Grit. The way they referenced the classic westerns of yesterday while imbuing them with just a hint of modern day narcissism was fantastic. To me this film, due to the Coens' direction, kept a steady tone that was refreshingly old-school and extremely entertaining. Forget the critics, this was the best directed of these movies. (That's right I think Danny Boyle had the best directed film this year, but sadly I'm just one man)

Will Win: Tom Hooper. Its a two horse race and I think Tom Hooper comes out on top this year Then again maybe Fincher makes it a split ticket, with his critical darling of a film. This one is too close to tell for sure, but I'm not gonna bet against Harvey Weinstein.

Alright gang, that's it for my pre-ceremony Oscar coverage, enjoy the show!

Dan

Another Way To Waste Time On The Interweb

In Bb 2.0 is one of the coolest websites I've seen in a long time. If you enjoy how different instruments can come together to make music this is definitely worth the time. The site, takes a bunch of different instruments, playing in B flat and allows you, the visitor, to pick which instruments you want in the mix. It's really fun, so of course I've passed it along.

Dan

TV On The Radio Prep Return

So it looks like indie rock band TV On The Radio are finally getting around to releasing a followup to their 2008 critical success Dear Science. Dear Science took a few listens for me to truly appreciate, but once I got it I loved it. Here's hoping the new album Nine Kinds of Light has the same lasting effect. And, just so you don't leave this post empty handed, I've included a link to the new single "Will Do", which upon first listen seems to be a solid, slow burning, return to form for these guys. 


TV on the Radio - Will Do by acid stag
Dan

Great GQ Article

Terrific article by Mark Harris of GQ.

 

http://www.gq.com/entertainment/movies-and-tv/201102/the-day-the-movies-died-mark-harris?_r=true

Dan

Star Wars Meets Dr. Seuss: What's Not To Love?

Mash-ups like this are what the internet was designed for. Enjoy!

Check out more of Adam Watson's work, at BitRebels
Dan

Browncoats Rise Once Again For Firefly

R.I.P Firefly

via wrathofzombie.wordpress

    I don't think a day goes by that I don't feel the sadness, the pain, the straight up heartbreak that comes from the fact that my beloved Firefly is no longer on the television. Sure, it's been many moons since the show breathed its last breath (or even since the awesome Serenity strolled into theaters and reunited the gang), but the pure joy that Joss Whedon and Co. brought into my life lingers. Alas, I'm not alone. Since Firefly was canceled the show has grown to gain an epic cult following and it appears that this devoted group of fans is trying, yet again, to bring Firefly back from the grave. To get the whole story catch the link the Entertainment Weekly story here, or if you are just interested in doing anything and everything possible to save our favorite sci-fi western then jump over to Help Nathan Buy Firefly. Sure the odds are against this plan succeeding but isn't that just a way of life for us Browncoats? Maybe all we need is the enthusiasm shown by Troy and Abed on last week's Community.

Dan

Pre-Summer Superhero Showdown!!!

    Unless you live under a rock, you are probably well aware that this summer we will have quite a few superhero movies hit the big screen. In honor of this "achievement" (I'm gonna level with you here, I think the whole superhero movie genre is already WAY overdone) I decided to do a pre-summer breakdown of the new comic book flicks heading our way. To spice it up, I'm gonna judge the potential that these movies hold based purely on  a strict, clearly defined, and in no way subjective criteria; How much I enjoy the trailer and the plot it presents. Alright enough with the scientific talk, it's time for the Pre-Summer Superhero Showdown!  


Trailer Throwdown

Captain America: The First Avenger

This trailer premiered during the Super Bowl, so it suffers from seeming a little short and rushed. That said, the clip does do a decent job of establishing the basics of Captain America's origin story. Bonus points go to the fact that the film is set during WWII, thus differentiating this flick from most other superhero adventures. As well, the little bit of humor at the end of trailer showed that there is potential in the female lead. That said, the action sequences were too chaotic and unrelated to make much of an impact. Overall, not a great first impression but it wasn't awful either.

Grade: B-


Green Lantern

Sweet mercy, this just looks awful. The first comment I have to make is that this looks about on par with original Power Rangers movie (Not a compliment). Second, the CGI, specifically, Reynolds CGI suit, looks horrendous. One can only hope that this trailer was rushed out before they had put the finishing touches on the effects. Third, Blake Lively looks like she will be about as interesting to watch as a piece of cardboard. The only thing this trailer has going for it, is that its two leads are attractive. Never a good sign.

Grade: D-


Thor

This trailer lacks one thing, coherent tone. The opening makes you think that you may be watching a a movie made by the WWE. Then Anthony Hopkins shows up and you feel like you're watching a very strangely reinterpreted Shakespearean production. Next, Natalie Portman arrives on screen, and darn it if it doesn't seem like the leads may actually have some legit chemistry. Of course, that lasts perhaps ten seconds until we are treated to the standard superhero fair of loud explosions, slow motion, and random yelling. Final Impression: Not so much.

Grade: C-


X-Men First Class

This trailer works because it takes it slow and introduces you to the vast number of characters that will inhabit this rendition of the X-men universe. As a result, you are actually drawn into the relationship between the two main characters. Also, the voice over by John F. Kennedy gives the whole thing a cool retro vibe. In the end, the trailer leaves you intrigued and wanting to know more and that is the true mark of success.
Grade: A-



The Winner Is:

Dan

Firework Madness

This was too entertaining and epic to not share. Enjoy!

Dan

A Good Cover Or Two

The art of covering a song is a complex beast. On the one hand, a cover needs to be in some way different from the original composition. Let's face it, a simple note for note cover is generally useless outside of a live setting (There's an exception to every rule, but deep down you know I'm right). At the same time, a good cover must maintain or, better yet, exemplify some portion of what made the original song great. In short, a great cover should make you fall in love with a song all over again.

I know that there are many amazing covers out there (Hendrix's "All Along The Watchtower" and Buckley's "Hallelujah" spring to mind), but I just stumbled across a few newer covers that are actually quite good and, in the spirit of sharing, I thought I would pass them along, including the original versions as well.

"We Will Become Silhouettes" Originally created by The Postal Service........

Now a cool re-imagining by The Shins

Second, "Atlantic City" first done by Bruce Springsteen

Now a fantastic cover by The Hold Steady

I hope you enjoyed these, but if not I'm going to continue to post fresh and interesting covers as I find them....

Dan

One Thing I Don't Understand

Maybe I'm the only one, but I just can't get into Radiohead. I know that makes me incredibly unhip, but for the life of me I don't get it. And their new song/music video doesn't help. Alas, all hope of me being a true hispter is lost...

Dan

Just In Case You Missed This

I've been a huge fan of Mumford And Sons for quite awhile and their intense live performance at the Grammys just added fuel to that fire. So if you missed the broadcast I present to you Mumford And Sons, performing "The Cave" off of their amazing freshman release "Sigh No More".

Also, if you're interested in more about Mumford And Sons' Grammy performance check out this great Rolling Stone interview.

Dan

One Thing I Don't Like

Earlier I wrote about some recent pop culture items that I enjoyed. Now I'd like to mention a film I'm not too fond of.

1. The Social Network- Unlike Pulp Fiction let's just start from the beginning. The first thing I read about this project was that David Fincher was going to direct a movie about Mark Zuckerberg and the creation of Facebook. My interest was piqued. Months later I see this trailer for The Social Network:  

 

And I'm gonna be honest, the trailer looked fantastic. It still does but that may have more to do with the perfectly chosen Radiohead cover than anything else. Then comes the final piece of the proverbial hype machine, positive critical reception. Peter Travers of Rolling Stone sums up the concensus when he wrote that "The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further. Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade." Thus, when I walked into the theater my expectations were high. I'm sad to say they were not met. Not even close. Now I'll be first to admit, that part of my distaste for The Social Network stems from the hype it received before I saw the film. However, I still believe there are some issues with this film.

SPOILER ALERT!

     First, I disagree with Mr. Travers' assessment that The Social Network represents the past decade. Though one can not deny the impact of Facebook and the rise of social networking has had on my generation, and most likely generations to come, simply making a film surrounding the creation of Facebook, does not inherently mean that the film somehow taps into the national zeitgeist. Instead, the film I saw centered around the problems of a select group of upper class white males. Excuse me if I disagree when critics claim that a film concerning only male Harvard graduates, deserves to be remembered as defining something as complex and diverse as an entire generation.
    Secondly, I do not think Aaron Sorkin's script was as insightful and revolutionary as many others have claimed it to be. I will grant that Mr. Sorkin has a masteful grasp of the English lanugage. However, the opening scene of The Social Network comes across less as a useful introduction to the protagonist, and more as a tiresome display of one writer's ability to hold multiple conversations with himself. Bravo. As well, the way in which Fincher and Sorkin, alter the facts surrounding Zuckerberg's story raise interesting questions for the viewer to ponder. Consider the scene in which Mark creates a website where college students can rate other college girls based upon their attractiveness. In real life, the website created rated both males and females. Does this fact change how one views Zuckerberg? I think so. To me the film intentionally sets up Zuckerberg to be a total jerk, especially in relation to women. And yet at the end of the film the audience is informed, by one of Mark's female attorneys no less, that he's "Not an asshole", he's just "trying really hard to be one." The rest of the screenplay and film, do not match this closing assessment and as such the ending left me feeling as if Sorkin and Fincher were merely making a hasty, last-ditch attempt at a balanced view of Zuckerberg.

via theshiznit.co.ik

    I don't want to end this discussion on such a negative note. When the film was released on DVD I gave the picture another watch. Though many of my criticisms still held true it's important to note that the film is filled with some superb performances (Andrew Garfield, the next Spiderman, is especially good) and occasionally does seem to tap into the common ethos of the modern college student. However, I can't help but feel that all of the praise and adoration for this film are bit unwarranted. Is it a good movie? Sure. Is it a generation-defining classic? I think not.

Here's a video that summarizes The Social Network rather well.

Dan

A Few Things I Like

Well, in honor of Valentine's Day I suppose I'll open this post with a couple of pop culture items that I've been digging as of late.

1. The Gaslight Anthem. If you haven't heard these guys you are really missing out. This band mixes punk energy with classic rock soul to create a sound that's just too good to be missed. I highly recommend both The 59 Sound and American Slang (their two most recent albums). I promise that after a few spins, these records will be on permanent rotation. Also, I saw these guys live a few months ago and they put one hell of show, so if you see them coming to town, do not even think of hesitating to buy a ticket, it's worth it, just go, you can thank me later. 

2. Books by Jon Krakauer. If you enjoy well written non-fiction that keeps you captivated, then you have got to check Mr. Krakauer's body of work. Recently I just finished Where Men Win Glory and Under The Banner of Heaven and friends, they were fantastic.

Where Men Win Glory follows the tragic story of Pat Tillman, a NFL player turned soldier, who (MILD SPOLER ALERT but not really since its on the cover) dies fighting for his country. Now what I enjoy about this book is how Krakauer seamlessly weaves Pat's narrative in with the sordid history of the Soviet Union in Afghanistan. In doing so Krakauer elevates Tillman's story into something greater, a metaphor for how little the American people truly understood about Afghanistan both before and after 9/11.

The other book I mentioned, Under The Banner of Heaven, concerns the rise of fundamentalist Mormonism in the United States. This may seem like an obscure and uninteresting topic but in Krakauer's hands the premise seems to speak volumes about our country's past. Jon Krakauer has written other terrific books, not the least of which include Into The Wild and Into Thin Air, but the two books highlighted are ones that I've just read. If you enjoy them then you will certainly enjoy these others.

3. 127 Hours. This Danny Boyle film, which follows the true story of trapped hiker Aron Ralston, is my pick for best movie of the year. The premise of the film is quite simple. Aron is out hiking alone, when he suddenly becomes trapped in a cave, his arm pinned between a rock and the stone wall. To many people the premise alone makes them say "No thank you, sir", but you have to trust me, there is more to this film than meets the eye. Danny Boyle's direction and editing combine with an outstanding performance from James Franco to create a film that hits you right in the gut. Seriously, when I came out of the screening I couldn't believe how little I was breathing during the film. I don't want to give too much away (maybe I'll review it later) but for now you should know that the film is truly great and serves as a powerful reminder about what's really worth living and dying and for.

Dan

It's Coming....

 Soon.