OK, so I saw this movie the day it came out, but with the holidays I just haven't had the time to put up a review. And I literally ran into the movie theater for fear that I'd be late for even one second of this film (don't worry, I didn't).
PROGNOSIS: EVERYONE MUST SEE THIS MOVIE!!!
I loved it! I cannot say enough about how much I loved this movie. But I'm a tad bit biased. I love the Coen Brothers. They are literally my favorite directors of all time (them, Wes Anderson, Quentin Tarantino, and Christopher Nolan). I have not seen a Coen Brothers's film that I didn't like. The greatest thing about the CB films are the fact that they have this self-generating quality, where each film seems to take something from the last, without it appearing to be the same film done over and over again. While I watched this movie there were things about it that definitely reminded me of No Country For Old Men, Oh Brother, Where Art Thou?, Fargo, The Big Lebowski, and even Raising Arizona. But it certainly wasn't a repeat of any one of those films. It was fun to watch the movie and chuckle at the memory of the past film.
Also, I must confess, I have never seen the original John Wayne True Grit. And, I may make some enemies with this next statement, I really don't care for the Duke. He's just not my cup of tea. But I've heard report from those who are fans of the Cowboy in the White Hat that they can't complain about this remake.
Now, back to the gushing: This movie rocks! It had the delightful and old-fashioned good feeling of a Western, but still modern and fast placed enough for today's audiences. A perfect marriage of talk and action, of which the Coen Brothers are masters. The dialog is smart and clever, like a great novel, and the action is thrilling and encompassing. It makes you go, "Oh! No Way! I can't believe that just happened, but I'm so glad it did!" There are some scenes that are a little vivid in the amount of violence that they show. The type of violence that completely merits a PG-13 rating.
But, one complaint, there were several times that I couldn't understand what Marshal Rooster Cogburn, played by Jeff Bridges, was saying in his deep, mumbling, slurred voice. So, when you go see it, as you must, stay on guard and pay attention when Cogburn speaks.
I could easily go on and on about how great this movie is with the use of wide shots, scene changes, the use of sound, everything. But I won't. I doubt that many of you would care to hear it. But I will say this: Hailee Steinfeld, the young actor who played Mattie Ross, did a phenomenal job. The girl is crazy young (her exact age I don't know), has only acted in seven total television shows and movies previous to True Grit, and completely held her own. As Matt Damon's character LaBoeuf says, she's earned her stripes. Honestly, I thought that her acting was some of the strongest I've ever seen, especially for a newbie.
So, either end the old year with a bang or start the new year on the right foot and go watch True Grit.
Tuesday, December 28, 2010
Tuesday, December 21, 2010
Black Swan
So far, the first two films I have reviewed have been, in a word, awesome. Literally, I was in total awe of this movie. It had many of the things I love the very most in films: hauntingly beautiful scenes, exquisite acting, and a beautiful story with respectful homage to previous pieces of cinema. But, just like 127 Hours, I can't in good conscious recommend this film to everyone. Drug use, language, and heavy issues such as anorexia and bulimia are just little sprinkles on this rated R film. Masturbation and a rather amped lesbian sex-scene are the things that take the cake in this movie. Obviously, this is not the film you watch with your grandmother, or even your mother.
But this movie is beautiful. You don't have to be a lover or appreciator of ballet to enjoy this film, though it is exceptionally gorgeous. Darren Aronofsky did a magnificent job with this film. One of the things that catches you off guard from the very beginning of the movie is the emphasis that Aronofsky puts on sound, especially during the dance sequences. Every step is amplified. This is unexpected since one would normally assume that all of our attention would be directed to the strictly visual. This is, after all, a ballet film, where all of the language is conveyed through the choreography. But we are grabbed by the ears and made to listen, and we find ourselves pleasantly surprised. One of the most beautiful things about this movie are the camera techniques that were used during the dancing sequences. It was more than just the classic, if not slightly cliché turning shot whenever the dancer did a pirouette. There was a fluidity and aeriness that made us feeling like we were dancing. Aronofsky tends to use a lot of shots where we are following behind the footsteps of the main character, allowing us to feel very much a part of the story, without being weighed down with the feeling of it actually happening to us. Like a reporter, we're in on the action, but don't have to pick up a gun and start fighting. Which was something of a comfort during some of the more suspenseful and disturbing scenes.
Which brings me to my next point: Natalie Portman. She was sublime. I cannot get over how much I loved her in this film. Many critics are comparing her to her character, Nina. Saying that she, too, is making the transformation to a sweet young girl to a fierce, strong, and more than capable woman. She did a phenomenal job playing the scared and timid Nina. Do you know how hard it is to play a scared and shy person convincingly? Natalie Portman did just that. There were definite moments when I felt that it was "Nina being played by Natalie Portman," and not "Natalie Portman portraying Nina." To me, that's the sign of a great actor. And they could not have casted a better person to play the sexual femme fatale of Lily than the dark beauty that is Mila Kunis. she was sexy, scary, dangerous, and irresistible, like a pet panther. Also, I feel that more credit needs to be given Winona Ryder, who plays an uncannily parallel role to her real life. It's a small part, but I thought it was perfect for her and she executed it beautifully. I also love the fact that these three women look similar enough to each other without there being a weak link in the acting (which is an important detail throughout the movie). Though Vincent Cassel has a crucial role as the ballet director, Thomas, it would almost be fair to say that this is an all-female cast without the bitter and coppery taste that pro-feminist films tend to leave in your mouth.
And finally, the story of Black Swan. Now, I'm a sucker for anything classic, especially stories. Anything that has withstood the test of time, I'll tend to like it. And I love seeing a beautiful retelling of a classic story. But nothing enrages me more than when it is poorly executed. It's like an ultimate insult to the original. Swan Lake is a story and ballet that I particularly like. So I was both curious and a little nervous to see where Aronofsky was going to take it. But he pulled it off. He kept the true and original tragic beauty of the story of Swan Lake in his film while still give it a new, fresh, and unique scent. There is also a clear homage to perhaps the most famous ballet film, The Red Shoes. A film I, personally, enjoy very much. What's more, there was also a very Hitchcock feel, especially with parallel darkness of the mise-en-scene to the darkness of the story. It's nice to see filmmakers give credit to where it's due without copy-catting the masters' work.
Just as Thomas says in Black Swan, this is a classic story that has been worked to death, but it been given a fresh, bold, and modern new life. This film has that beautiful and nearly impossible to fabricate feeling of being both old and timeless while still being new, exciting, and breathtakingly beautiful. Like inheriting your grandmother's diamond ring.
But this movie is beautiful. You don't have to be a lover or appreciator of ballet to enjoy this film, though it is exceptionally gorgeous. Darren Aronofsky did a magnificent job with this film. One of the things that catches you off guard from the very beginning of the movie is the emphasis that Aronofsky puts on sound, especially during the dance sequences. Every step is amplified. This is unexpected since one would normally assume that all of our attention would be directed to the strictly visual. This is, after all, a ballet film, where all of the language is conveyed through the choreography. But we are grabbed by the ears and made to listen, and we find ourselves pleasantly surprised. One of the most beautiful things about this movie are the camera techniques that were used during the dancing sequences. It was more than just the classic, if not slightly cliché turning shot whenever the dancer did a pirouette. There was a fluidity and aeriness that made us feeling like we were dancing. Aronofsky tends to use a lot of shots where we are following behind the footsteps of the main character, allowing us to feel very much a part of the story, without being weighed down with the feeling of it actually happening to us. Like a reporter, we're in on the action, but don't have to pick up a gun and start fighting. Which was something of a comfort during some of the more suspenseful and disturbing scenes.
Which brings me to my next point: Natalie Portman. She was sublime. I cannot get over how much I loved her in this film. Many critics are comparing her to her character, Nina. Saying that she, too, is making the transformation to a sweet young girl to a fierce, strong, and more than capable woman. She did a phenomenal job playing the scared and timid Nina. Do you know how hard it is to play a scared and shy person convincingly? Natalie Portman did just that. There were definite moments when I felt that it was "Nina being played by Natalie Portman," and not "Natalie Portman portraying Nina." To me, that's the sign of a great actor. And they could not have casted a better person to play the sexual femme fatale of Lily than the dark beauty that is Mila Kunis. she was sexy, scary, dangerous, and irresistible, like a pet panther. Also, I feel that more credit needs to be given Winona Ryder, who plays an uncannily parallel role to her real life. It's a small part, but I thought it was perfect for her and she executed it beautifully. I also love the fact that these three women look similar enough to each other without there being a weak link in the acting (which is an important detail throughout the movie). Though Vincent Cassel has a crucial role as the ballet director, Thomas, it would almost be fair to say that this is an all-female cast without the bitter and coppery taste that pro-feminist films tend to leave in your mouth.
And finally, the story of Black Swan. Now, I'm a sucker for anything classic, especially stories. Anything that has withstood the test of time, I'll tend to like it. And I love seeing a beautiful retelling of a classic story. But nothing enrages me more than when it is poorly executed. It's like an ultimate insult to the original. Swan Lake is a story and ballet that I particularly like. So I was both curious and a little nervous to see where Aronofsky was going to take it. But he pulled it off. He kept the true and original tragic beauty of the story of Swan Lake in his film while still give it a new, fresh, and unique scent. There is also a clear homage to perhaps the most famous ballet film, The Red Shoes. A film I, personally, enjoy very much. What's more, there was also a very Hitchcock feel, especially with parallel darkness of the mise-en-scene to the darkness of the story. It's nice to see filmmakers give credit to where it's due without copy-catting the masters' work.
Just as Thomas says in Black Swan, this is a classic story that has been worked to death, but it been given a fresh, bold, and modern new life. This film has that beautiful and nearly impossible to fabricate feeling of being both old and timeless while still being new, exciting, and breathtakingly beautiful. Like inheriting your grandmother's diamond ring.
Monday, December 13, 2010
127 Hours
There is but one word to describe this movie: WOW! It literally took my breath away! This movie ranks high on the amazing scale for so many different reasons. But I have a duty to give a loud and clear WARNING: This movie is NOT for the faint of heart!!! This movie will make you queasy, nauseated, writhing in pain in your seat. I know, because that is exactly what happened to me. As the daughter of a doctor, blood and guts in movies don't bother me, at all. This had me aching to look away at parts; something I've never done once in all of my film watching experiences. If you think that you can stand the sights, just be prepared. And if you think that you can't.... maybe you should watch something else. It's that intense.
image via rowthree.com
But that doesn't take away from the fact that this film was absolutely outstanding. Once again, Danny Boyle has proven himself to be a master of the silver screen. He knows how to pull his audience in and put them into the world of his film. And that's exactly what he does in 127 Hours. His camera techniques, the use of symbolism, and the way he captures the beautiful Utah landscape is superb.
The setting is both irresistibly enchanting and undeniably malicious. Boyle makes the audience simultaneously fall in love with the setting and hate it for its cruelty to the protagonist, and therefore us.
That is the other reason why this film rocks (no pun intended). The protagonist, Aron Ralston, is an interesting character. Because we know going that this is a bio-pic, all of Ralston's human personality flaws are unabashedly displayed. We know that he's real, and not some fiction character that someone created. We cannot help but like him.
That is the other amazing thing about this movie. Unlike Titanic, perhaps one of the most famous and popular bio-pics, the emphasis is not put on the disaster. Despite the fact that we all knew right from the get-go what happened to Titanic, the movie made us shocked and horrified that an ice berg could sink that ship. Here, in 127 Hours, it's not the disaster of Ralston having a boulder pin him in a tiny canyon, or even the fact that he has to cut off his own arm, where all of the emphasis is placed. It is the physical, mental, and even spiritual transformation of Ralston that we are watching. And Boyle displays it beautifully.
And finally, the coup de grace of this film, in my personal opinion, is the acting of James Franco. I tend to put a lot of stock into how good I think a film is by the acting. Franco deserves every word of the Oscar buzz he's created from this performance. He clearly and vividly allows the audience to see Ralston's metamorphosis. And not just the physical, either.
So there you have it. This movie was great. Really great. I would recommend it to anyone, so long as they were fairly warned about it's graphic nature.
Friday, December 10, 2010
Allow me to introduce myself and my Blog
You know how there's always one person you ask if they know anything about a particular film that's in the theaters? Well, that's me. I am that friend.
Welcome to L'Entracte at the Movies, the blog where I write movie reviews so that you are better aware of which movies out there are worth your buck. And these days we could all do with saving those pennies whenever possible. However, we shouldn't have to sacrifice all forms of entertainment while doing so.
That's where L'Entracte comes in. I'll watch the movie first, write a review, and then you can judge for yourself if that particular blockbuster, family flick, indie film, and all that's in between is worth the price of a ticket.
What's exciting about L'Entracte is the fact that you can have an influence as to which films I will be reviewing. I'm going to try to watch as many of the movies that are out in the theaters as I possibly can, but a few may end up at the bottom of my list. If there's a film that you're particularly curious about, then give me the movie title, and I will go and view.
Stay tuned for my next post, where you can read what I have to say on my first review.
Welcome to L'Entracte at the Movies, the blog where I write movie reviews so that you are better aware of which movies out there are worth your buck. And these days we could all do with saving those pennies whenever possible. However, we shouldn't have to sacrifice all forms of entertainment while doing so.
That's where L'Entracte comes in. I'll watch the movie first, write a review, and then you can judge for yourself if that particular blockbuster, family flick, indie film, and all that's in between is worth the price of a ticket.
What's exciting about L'Entracte is the fact that you can have an influence as to which films I will be reviewing. I'm going to try to watch as many of the movies that are out in the theaters as I possibly can, but a few may end up at the bottom of my list. If there's a film that you're particularly curious about, then give me the movie title, and I will go and view.
Stay tuned for my next post, where you can read what I have to say on my first review.
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