The Plan: I have decided to see these seven films before the Academy Awards broadcast on Sunday night, March 7 -
☑ An Education [I saw this one on 2/21- click the link for my review]
☐ Avatar
☐ The Blind Side
☑ Crazy Heart [I saw this one on 2/20- click the link for my review]
☐ District 9
☑ The Hurt Locker [I saw this one on 2/26- click the link for my review]
☐ The Last Station
Last night, I saw...
District 9 - (Jim Styro's mini-review)
Whoa Nellie!
Director Neill Blomkamp's first feature film is a concoction that is part "prison break", part "man-on-the-run", part "bank heist", part "concentration camp" and part "documentary" sprinkled liberally over a bed of sci-fi (including homages from everything to David Cronenberg's The Fly to The Phantom Menace to Close Encounters of the Third Kind). It's got everything - plus the kitchen sink! All this with an underlying rumination on apartheid - to be more accurate, the question: If the creature is different enough from you, is it OK to treat him (her, it) like crap?
There's a lot going on in District 9, which is both a blessing and a curse. The film hurtles you directly into a world where mankind's first encounter with an alien race occurs in Johannesburg, South Africa - which gives a whole new meaning to the term "third world". The hectic nature of the movie's opening will be hard for some viewers to take in (I kept reminding myself that I was watching a film nominated for Best Picture) - but if you like a flick that is crammed full of ideas, you won't be disappointed. The "little green men" here (OK, they're really big ugly-looking bug-things) haven't come to be take over our planet - or be our friends - they just ran out of gas on their way home. And by the time we humans get around to cutting them out of their mothership, most of them are dead or dying. As a result, Soweto gets a new ghetto, this one filled with aliens, called "District 9".
I won't even attempt to outline the plot (beyond my helpful hints in the opening paragraph). This is a messy film - in every sense of the word. But once we get inside District 9, the action does begin to draw you in for a bumpy ride. The movie does have a number of gross-out moments - but the overall effect of District 9 is so unreal that, at times, it's like watching someone else playing Halo (or some other first-person shooter video game). And the movie features a good performance by Sharlto Copley as Wikus, who goes from being the bumbling husband of the boss' daughter put in charge of an operation beyond his abilities to a man desperately trying to retain/reclaim his humanity. He also gets style points for trying to imbue the word "f*ck" with the most dramatic impact since The Big Lebowski.
If you're a sci-fi fan, you're probably gratified that the Academy has recognized District 9 with a Best Picture nomination. I don't put it in the same level with the other nominees I have seen so far - but some of that is just a matter of taste, after all.
Take care.
Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts
Friday, March 5, 2010
Thursday, March 4, 2010
The Plan: Three down...four more to go
"Previously on Speaking In CAPS..."
I have decided to see these seven films before the Academy Awards broadcast on Sunday night, March 7 -
☑ An Education [I saw this one on 2/21- click the link for my review]
☐ Avatar
☐ The Blind Side
☑ Crazy Heart [I saw this one on 2/20- click the link for my review]
☐ District 9
☐ The Hurt Locker
☐ The Last Station
Last Friday night, I saw...
The Hurt Locker - (Jim Styro's mini-review)
There are certain types of movies that I don't necessarily look forward to seeing: anything with scenes of extreme violence or gore, horror films, and (most) modern gangster or war films. I admit it - I'm squeamish. And I shy away from films where you can tell something bad is going to happen sooner or later (oftentimes the badness arrives early and often) and the only remaining questions are: when will it occur and how bad will it be?
But a Best Picture nomination still carries some weight with me (although not as much weight now that there are ten films nominated rather than five*), so I steeled myself in preparation for viewing The Hurt Locker, knowing that there would moments in the film that would be difficult for me to watch - but hoping that the film would be worth the trouble. As Don Henley once asked, "Are you with me so far?"
The Hurt Locker follows a three-man bomb disposal squad through the last month and a half of a year-long tour-of-duty in Iraq. Staff Sgt. James, the team leader, is a man who seems to know no fear. He works instinctively, with little regard for protocol - and loves his work in a way that even he does not understand. Sgt. Sanborn is a soldier of nearly equal experience - but he rankles at the unnecessary risks which his team leader seems to thrive upon. Specialist Eldridge is the youngest and most impressionable of the trio. Although he has known and worked with Sanborn longer, he is drawn to James' bravado and seeming invincibility. As their remaining days in Iraq dwindle down, the sense of tension mounts. How long will their luck hold out in the face of such carnage?
Director Kathryn Bigelow has crafted a film was doesn't seem crafted at all. Rather, it makes the viewer a participant and creates the sense of being present in the action, with the sense of danger and foreboding that are an everyday part of the team's work. While the movie certainly has a point of view, it does not have an overt agenda. It does not seem to judge the soldiers, the Iraqis, or even the conflict itself. The only objective is survival - in an environment that seems to make that objective an impossibility.
Although the performances in The Hurt Locker are uniformly excellent, the three leads (Jeremy Renner, Anthony Mackie and Brian Geraghty) must carry the picture - and their work together makes us believe that these very different young men comprise a team so tight-knit that we civilians can scarcely comprehend the nature of their brotherhood. The film portrays a type of warfare unique to our present day, with three men going into battle seemingly (and, in some cases, quite literally) alone. The isolation of The Hurt Locker's action stands in stark contrast to what we would expect in a World War 2 or Vietnam era film, where these exploits would feature groups of 6, 10 or a dozen men. Here, the indelible image is of one soldier walking into certain danger with only a couple of other men to watch his back.
Although it seems ludicrous to me to call The Hurt Locker an "enjoyable" film - it is a memorable movie and one well worth seeing. I won't be surprised to look back and see that this film is viewed as the iconic portrayal of the Iraq war(s) [as some might say of Apocalypse Now and Vietnam, or Saving Private Ryan and World War 2]. It's strong stuff - so be prepared.
Take care.
* It just seems like a blatant move to get more people into the theaters. I mean, were there really twice as many amazingly excellent movies made this year than last year?
I have decided to see these seven films before the Academy Awards broadcast on Sunday night, March 7 -
☑ An Education [I saw this one on 2/21- click the link for my review]
☐ Avatar
☐ The Blind Side
☑ Crazy Heart [I saw this one on 2/20- click the link for my review]
☐ District 9
☐ The Hurt Locker
☐ The Last Station
Last Friday night, I saw...
The Hurt Locker - (Jim Styro's mini-review)
There are certain types of movies that I don't necessarily look forward to seeing: anything with scenes of extreme violence or gore, horror films, and (most) modern gangster or war films. I admit it - I'm squeamish. And I shy away from films where you can tell something bad is going to happen sooner or later (oftentimes the badness arrives early and often) and the only remaining questions are: when will it occur and how bad will it be?
But a Best Picture nomination still carries some weight with me (although not as much weight now that there are ten films nominated rather than five*), so I steeled myself in preparation for viewing The Hurt Locker, knowing that there would moments in the film that would be difficult for me to watch - but hoping that the film would be worth the trouble. As Don Henley once asked, "Are you with me so far?"
The Hurt Locker follows a three-man bomb disposal squad through the last month and a half of a year-long tour-of-duty in Iraq. Staff Sgt. James, the team leader, is a man who seems to know no fear. He works instinctively, with little regard for protocol - and loves his work in a way that even he does not understand. Sgt. Sanborn is a soldier of nearly equal experience - but he rankles at the unnecessary risks which his team leader seems to thrive upon. Specialist Eldridge is the youngest and most impressionable of the trio. Although he has known and worked with Sanborn longer, he is drawn to James' bravado and seeming invincibility. As their remaining days in Iraq dwindle down, the sense of tension mounts. How long will their luck hold out in the face of such carnage?
Director Kathryn Bigelow has crafted a film was doesn't seem crafted at all. Rather, it makes the viewer a participant and creates the sense of being present in the action, with the sense of danger and foreboding that are an everyday part of the team's work. While the movie certainly has a point of view, it does not have an overt agenda. It does not seem to judge the soldiers, the Iraqis, or even the conflict itself. The only objective is survival - in an environment that seems to make that objective an impossibility.
Although the performances in The Hurt Locker are uniformly excellent, the three leads (Jeremy Renner, Anthony Mackie and Brian Geraghty) must carry the picture - and their work together makes us believe that these very different young men comprise a team so tight-knit that we civilians can scarcely comprehend the nature of their brotherhood. The film portrays a type of warfare unique to our present day, with three men going into battle seemingly (and, in some cases, quite literally) alone. The isolation of The Hurt Locker's action stands in stark contrast to what we would expect in a World War 2 or Vietnam era film, where these exploits would feature groups of 6, 10 or a dozen men. Here, the indelible image is of one soldier walking into certain danger with only a couple of other men to watch his back.
Although it seems ludicrous to me to call The Hurt Locker an "enjoyable" film - it is a memorable movie and one well worth seeing. I won't be surprised to look back and see that this film is viewed as the iconic portrayal of the Iraq war(s) [as some might say of Apocalypse Now and Vietnam, or Saving Private Ryan and World War 2]. It's strong stuff - so be prepared.
Take care.
* It just seems like a blatant move to get more people into the theaters. I mean, were there really twice as many amazingly excellent movies made this year than last year?
Thursday, February 25, 2010
The Plan: Two down...five more to go
Let me explain. No...let me sum up:
I have decided to see these seven films before the Academy Awards broadcast on Sunday night, March 7 -
☐ An Education
☐ Avatar
☐ The Blind Side
☑ Crazy Heart [I saw this one Saturday night - click the link for my review]
☐ District 9
☐ The Hurt Locker
☐ The Last Station
Sunday night, I saw...
An Education - (Jim Styro's mini-review)
Do you ever have those moments when you feel that you are viewing life through a particular prism where all of the common elements in things stand out very distinctly and you see how everything seems interrelated - and its not because you're on drugs or anything - but the patterns in events and people and things just seem to blend together in a rich tapestry that seems utterly clear to you...?
Well, even if you don't - there are some common elements between the films Crazy Heart and An Education which, despite significant differences in setting, style and point of view, stand out clearly - especially when having watched the movies on back-to-back evenings. Chief among these is the notion of "Romance gone wrong" - the feeling that the relationship being portrayed cannot (perhaps, should not) last. In Crazy Heart, we see this played out primarily from the point of view of a 60+ year-old man; in An Education, our protagonist is a 16-year-old (soon to be 17) girl, Jenny. In Crazy Heart, the romantic relationship seems like it may be a last chance at redemption for our hero; in An Education, it is clearly a first love - with the potential to deliver Jenny from (what she views as) the stifling environs of 1961 Great Britain*.
The movie is filled with wonderful performances from Alfred Molina, Olivia Williams, Emma Thompson (in a small but important role) - to mention only a few - but most impressive is Carey Mulligan as Jenny. The success of the entire film rests on her ability to strike the right balance between the bliss of youthful naivete and the single-mindedness of an adolescent mind certain that she is not understood by those around her, that the future being planned for her is a trap. Her performance seems so natural that we are drawn on her emotional roller-coaster ride (or, should I say, helter skelter?). I found the movie quite moving - and this is due in large part to Mulligan's performance.
Mulligan and Peter Sarsgaard (Garden State & Kinsey), who plays David, the older man that wants to expose Jenny to the finer things in life, make an attractive couple - and the movie does a great job of capturing the look and feel of Britain and Europe in the early 60's - like Breakfast at Tiffany's set in London or Paris. But, like Crazy Heart, though you think you know where the film is going (and may even be right about its final destination) the path it takes will likely hold at least a few surprises.
I know it seems like I'm easy (though I'm not cheap) - but I have to say:
An Education is one class I think you'll be glad you sat through.
Take care.
* Setting the film in that year may have simply been staying true to the original article, written by Lynn Barber, upon which the film is based. But it seems entirely fitting - even necessary - that the story take place in a pre-Beatles England - before the Fab Four began to thaw Britain out of its post-World War 2 malaise - and give the Baby Boom its boom.
I have decided to see these seven films before the Academy Awards broadcast on Sunday night, March 7 -
☐ An Education
☐ Avatar
☐ The Blind Side
☑ Crazy Heart [I saw this one Saturday night - click the link for my review]
☐ District 9
☐ The Hurt Locker
☐ The Last Station
Sunday night, I saw...
An Education - (Jim Styro's mini-review)
Do you ever have those moments when you feel that you are viewing life through a particular prism where all of the common elements in things stand out very distinctly and you see how everything seems interrelated - and its not because you're on drugs or anything - but the patterns in events and people and things just seem to blend together in a rich tapestry that seems utterly clear to you...?
Well, even if you don't - there are some common elements between the films Crazy Heart and An Education which, despite significant differences in setting, style and point of view, stand out clearly - especially when having watched the movies on back-to-back evenings. Chief among these is the notion of "Romance gone wrong" - the feeling that the relationship being portrayed cannot (perhaps, should not) last. In Crazy Heart, we see this played out primarily from the point of view of a 60+ year-old man; in An Education, our protagonist is a 16-year-old (soon to be 17) girl, Jenny. In Crazy Heart, the romantic relationship seems like it may be a last chance at redemption for our hero; in An Education, it is clearly a first love - with the potential to deliver Jenny from (what she views as) the stifling environs of 1961 Great Britain*.
The movie is filled with wonderful performances from Alfred Molina, Olivia Williams, Emma Thompson (in a small but important role) - to mention only a few - but most impressive is Carey Mulligan as Jenny. The success of the entire film rests on her ability to strike the right balance between the bliss of youthful naivete and the single-mindedness of an adolescent mind certain that she is not understood by those around her, that the future being planned for her is a trap. Her performance seems so natural that we are drawn on her emotional roller-coaster ride (or, should I say, helter skelter?). I found the movie quite moving - and this is due in large part to Mulligan's performance.
Mulligan and Peter Sarsgaard (Garden State & Kinsey), who plays David, the older man that wants to expose Jenny to the finer things in life, make an attractive couple - and the movie does a great job of capturing the look and feel of Britain and Europe in the early 60's - like Breakfast at Tiffany's set in London or Paris. But, like Crazy Heart, though you think you know where the film is going (and may even be right about its final destination) the path it takes will likely hold at least a few surprises.
I know it seems like I'm easy (though I'm not cheap) - but I have to say:
An Education is one class I think you'll be glad you sat through.
Take care.
* Setting the film in that year may have simply been staying true to the original article, written by Lynn Barber, upon which the film is based. But it seems entirely fitting - even necessary - that the story take place in a pre-Beatles England - before the Fab Four began to thaw Britain out of its post-World War 2 malaise - and give the Baby Boom its boom.
Wednesday, February 24, 2010
The Plan: One down...six more to go
To recap: Saturday morning, I decided that I would try to see the following seven films before the Academy Awards broadcast on Sunday night, March 7.
An Education
Avatar
The Blind Side
Crazy Heart
District 9
The Hurt Locker
The Last Station
Combining these with three previously-viewed films that have been nominated for Best Picture this year (A Serious Man, Up!, and Up in the Air) would give me a tally of having viewed:
8 of the 10 Best Picture nominees, and
3 of the 5 nominees in each acting category (except Best Supporting Actor)
[Side note: I wish I could find a way to see Invictus - but it's not playing in theaters anywhere I can find - and it's not out on DVD either.]
Why do you care about any of this?I don't know Because I've promised to feature mini-reviews of the movies after I see them. And you don't think I'm completely full of crap value my opinion.
Saturday night, I watched...
Crazy Heart (Jim Styro's mini-review)
I love seeing movies without having a lot of expectations. I'm almost always pleasantly surprised. Of course, I wasn't surprised by another Oscar-worthy performance by Jeff Bridges. He's become one of my favorite actors over the years - not only delivering wonderful and varied performances - but picking great movies in which to appear. And Maggie Gyllenhaal is no slouch either (I particularly loved her in Stranger Than Fiction).
Bridges plays an chain-smoking, alcoholic country singer/songwriter, "Bad" Blake, who is past his prime and headed for an early grave. While traveling from one sorry gig to another, he grants an interview to Jean (Gyllenhaal), whose youth and unpretentious beauty pierce through the haze of his dreary, booze-soaked existence. Against her better judgement, Jean starts to fall in love with Bad (which makes the thing sound more cliched than it is, IMO) and he begins to form a bond with both her and her pre-school-aged son. For me, the movie stirred up memories of another great little movie - Tender Mercies (which earned Robert Duvall - whose appearance in Crazy Heart is almost an homage to that earlier movie - a well-deserved Oscar for Best Actor) which featured a similar cast of characters.
But, apart from a shared faith in human endurance, the similarity between the films does not run that deep. Although Bad and Jean genuinely care for each other, their relationship never feels quite right (as perhaps it should not). And Bad's nickname is well-earned - it is not clear until near the end of the film whether he can or will change his ways. Although the story feels familiar, the plot line and performances don't necessarily take you where you might expect them to go. Even so, it is a wonderful journey - with great music (Bridges sings and plays the material himself) and fine performances all around.
Crazy Heart is a film well worth seeing.
Take care.
An Education
Avatar
The Blind Side
Crazy Heart
District 9
The Hurt Locker
The Last Station
Combining these with three previously-viewed films that have been nominated for Best Picture this year (A Serious Man, Up!, and Up in the Air) would give me a tally of having viewed:
8 of the 10 Best Picture nominees, and
3 of the 5 nominees in each acting category (except Best Supporting Actor)
[Side note: I wish I could find a way to see Invictus - but it's not playing in theaters anywhere I can find - and it's not out on DVD either.]
Why do you care about any of this?
Saturday night, I watched...
Crazy Heart (Jim Styro's mini-review)
I love seeing movies without having a lot of expectations. I'm almost always pleasantly surprised. Of course, I wasn't surprised by another Oscar-worthy performance by Jeff Bridges. He's become one of my favorite actors over the years - not only delivering wonderful and varied performances - but picking great movies in which to appear. And Maggie Gyllenhaal is no slouch either (I particularly loved her in Stranger Than Fiction).
Bridges plays an chain-smoking, alcoholic country singer/songwriter, "Bad" Blake, who is past his prime and headed for an early grave. While traveling from one sorry gig to another, he grants an interview to Jean (Gyllenhaal), whose youth and unpretentious beauty pierce through the haze of his dreary, booze-soaked existence. Against her better judgement, Jean starts to fall in love with Bad (which makes the thing sound more cliched than it is, IMO) and he begins to form a bond with both her and her pre-school-aged son. For me, the movie stirred up memories of another great little movie - Tender Mercies (which earned Robert Duvall - whose appearance in Crazy Heart is almost an homage to that earlier movie - a well-deserved Oscar for Best Actor) which featured a similar cast of characters.
But, apart from a shared faith in human endurance, the similarity between the films does not run that deep. Although Bad and Jean genuinely care for each other, their relationship never feels quite right (as perhaps it should not). And Bad's nickname is well-earned - it is not clear until near the end of the film whether he can or will change his ways. Although the story feels familiar, the plot line and performances don't necessarily take you where you might expect them to go. Even so, it is a wonderful journey - with great music (Bridges sings and plays the material himself) and fine performances all around.
Crazy Heart is a film well worth seeing.
Take care.
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