True Grit

True Grit
Watched: January 29th 2011

I have not been exposed to enough Westerns to know how this fits into the genre. I have not seen the original nor have I read the book. My overall opinion was outstanding performances, great visual effects, good fight scenes, slow story, and really slow story. Jeff Bridges was absolutely excellent as Rooster Cogburn, though his slurred speech sometimes made me flashback to "the Dude". Bridges had a fantastic character to work with and he played the emotions well while delivering wonderfully witty one-liners. His banter with Matt Damon's character, a ridiculous but skillful man named LaBoeuf, is entertaining throughout the movie and almost hides the fact that the movie is rather dead without it. Newcomer Hailee Steinfeld plays the overconfident, eloquent, and daring Mattie Ross with a degree of genuineness that is stunning for her age. However her stubborn and humorous moments are far stronger than her dramatic ones. The film does present its themes in a way that makes the audience ask the questions: How far do you go? Does the end justify the means? What is revenge worth?--Valid questions that are difficult to contemplate, but there is plenty of time to do that in the scenes that drag. Nominated for 10 Academy Awards in both technical and acting categories, True Grit is certainly one of the best films of the year. Though not the strongest contender it still packs a punch and should be seen.

Perfume: The Story of a Murderer

Perfume: The Story of a Murderer
Watched: January 26th 2011

This movie is a hidden gem. My roommate stumbled upon the film and now has the book as well, having never heard of either I'm glad she did, because I absolutely loved this movie. Ben Whishaw radiates desire and intensity with a horrific intensity while maintaining the naive, anxious, and confused nature that coexist within his character Jean-Baptiste Grenouille. Born with an uncommonly powerful sense of smell, Jean-Baptiste is able to identify even the most exotic scents as well as negligible ones taken for granted. The cinematography and sound effects contribute greatly to drawing the audience in to this world that is based on a sense we cannot experience watching a film. However, the detail and texture of the film almost allow its viewer to experience the aromas Jean-Baptiste is smelling. Appearances by Dustin Hoffman and Alan Rickman provide intriguing characters who not only propel Jean-Baptiste in his journey, but also test the monster within him, showing the conflict and shifts controlling his dark, twisted mind. Due to his passionate obsession for fragrances, a whiff of a beautiful woman triggers a maniacal idea in Jean-Baptiste's head. After realizing that the intoxicating scent is lost through death, he sets out to preserve the natural aroma of other women. resulting in a murder spree that is both disturbing and beautiful. Tom Tykwer, the director, does an amazing job taking a somewhat heartless killer and connecting the audience to him so that his actions almost make sense. There is a pity for the man who is only trying to save what he loves and understands. The events that unfold because of his endeavors are shocking and unpredictable. You will never think of perfume the same way ever again.

Love Actually

Love Actually
Watched: January 24th 2011

Confession: I hate chick flicks. I despise the goopy-droopy crap they expect us to believe can actually happen. This film however, delighted me ridiculously. A uniquely written script somewhere between Crash and the play Almost, Maine, Love Actually is a heart-warming Christmas tale of finding, losing, and exploring love. I think the reason I was able to handle the high-fructose moments was because they were beautifully balanced with a witty script as well as painfully real and sometimes gut-wrenching moments. The cast certainly contributed to the lovely experience this film was. Emma Thompson was substantially brilliant in her role as an endearing, hilarious mother who is forced to consider her life when her husband, the ever smarmy Alan Rickman, is seduced by his swanky secretary. Her wonderful comedic timing and genuine struggle to maintain control when things fall apart makes her's one of the most memorable roles in the film. Mixed in is a has-been, crude rock and roll star, an adorable porno couple, a newly wed couple whose best man has a little secret of his own, a workaholic family woman unable to commit to a love connection, a language barrier, a prime minister with an inconvenient crush, and my personal favorite a young boy and his father attempting to build a relationship with each other while tackling "the total agony" of first love. Whether you're into all the sticky-sweet-valentines-day-mushy-gushy stuff, or if you prefer your love with a kick of unfortunate realism, Love Actually has something for everyone--and not to mention a really great soundtrack. A perfect feel-good film and instant Christmas classic for grown-ups.

The Way We Were

The Way We Were
Watched: January 23rd 2011

   I was very excited to watch this film because one, I absolutely love Robert Redford, and two, there's an episode of Sex and the City where Carrie quotes a line from the ending when saying goodbye to Mr. Big. When something I haven't seen is referenced in a medium of pop culture I like to educate myself. I did the same thing when I watched the Graduate. I'd always wanted to see it, but that desire heightened after seeing (500) days of summer and loving that film. I'm not a huge Sex and the City or anything, but I figured if it was good enough for Carrie Bradshaw, it was good enough for me--and I love Robert Redford.
   I was sadly very disappointed by this film. Perhaps it is because I'm far too apathetic about political rantings, I realize we need people who are politically active like the film's main character Katie, but I'm just not interested in watching people yell about government issues for two hours. If I wanted to do that I'd fly to Washington and sit in on Congress. Besides, her yelling was half the movie. Sometimes it was about politics, sometimes it was about the difficulty of love, but lots of yelling either way. The other half of the movie, was slow, dragging, boring conversations. There was no arc to the story it merely went from subdued moments to flaring moments and then back again over and over. It was like watching a yo-yo bounce up and down, never doing any cool tricks.
   I found it ironic as well that Redford's character was constantly whining about people wanting to cut scenes from his film because they weren't necessary when that's exactly what I wanted to do to this one. A faster pace might have help this movie to keep me engaged. That, and three dimensional characters. It didn't feel like any of them learned anything at all. There was no growth, Redford was always as latent as a pin cushion and Kate, played by Barbara Streisand, was needy, annoying, and too obsessed to realize she was doing nothing but hurting herself. Both just kept making the same mistakes so many times that by the ending scene I didn't care about either one of them, which is a shame because it seemed lovely and that was what I had been waiting for the whole time.
   Though their characters were monotonous I did like Redford and Streisand's chemistry. They work well together on-screen in both romantic and conflict scenes. There were some beautiful lines, and some of the moments of silence were absolutely perfect. However, they were precious gems embedded in lackluster cave.

The Red Shoes

The Red Shoes
Watched: January 15th 2011


This 1948 film was suggested to me via 1001 Movies You Must See Before You Die but my interest in it really peaked when Entertainment Weekly suggested it for those who liked Black Swan. Though Red Shoes tells a different story it is equally if not more engaging than Black Swan. In The Red Shoes a young ballerina named Victoria Page strives to become the best dancer she can be under the instruction of a prestigious impresario. He is obsessive and strict maintaining the belief that outside of one's craft there is no true passion. When Victoria falls in love with the man composing ballets for her she must constantly weigh her need to dance against her incredible love for him. The movie features beautiful dances and features actors who are very prominent in their roles.Moira Shearer plays the lead role with an innocence that is haunting because she recognizes the games the people around her play, but once she is caught in them she loses control and can't bring herself to break for her two greatest loves. The role demanded incredible facials and Shearere delivers with a old horror feel so that her experiences truly become a nightmare. Many of the shots and even some plot points are incredibly similar to Black Swan, but rather than cancel each other out, the two films enhance one another.

The Green Hornet

The Green Hornet
Watched: 1/15/11

The super hero movie has mainly become a platform for drama. Spiderman was a soap opera by the third installment because of how intensely it pursued the dark side of being a hero.Some heroes had their days of tomfoolery and have moved on to more dramatic pastures (see Adam West's Batman vs. Christian Bale's). However, some masked crusaders realize they can have just as much appeal if they are light-hearted. The thing is, it's kind of nice to think that even though they are risking their lives everyday and being consumed by an alter-ego, superheroes like being heroes. It's not just a job or a responsibility, it's just what they love. Green Hornet is certainly not a landmark film that will change the course of the Superhero genre forever. But, it is an amusing kick of action-packed laughs and eye-popping effects. Even when it tries to be dramatic some element of the scene always keeps the mood hokey. This film will not change your life. It will not fix anything. However, if for only awhile it is a wonderful way to relax and play for a couple of hours. It's the movie you want to go to the movies for; the kind of film that you feel good walking out of and joke about the entire car ride home. See it because you want to have a good time at the movies, accept that it is over-the-top ridiculous, somewhat shallow, and melodramatic, but know deep down it's actually a great break from all the drama.

Easy A

Easy A
Watched: September 18th 2010

Sex has now unleashed itself on pop culture by implementing itself into advertisements, movies, song lyrics and T.V. shows alike. There has also been an inundation of sharing information via the use of the internet/facebook and txting. When these two combine, things can get a little crazy. Easy A, a smart new movie starring Zombieland’s Emma Stone, takes an interesting stance in exploring the effects of the sexual obsession sweeping the nation and the role it plays in the lives of young adults. The film explores touchy subjects through snappy comedy; it shines as a genre rarity: a smart teen movie.

                The film tells the story of a young woman named Olive. She’s a high school-nobody with sharp wit, charming sarcasm, and an extreme streak of sympathy. After accidentally starting a rumor that she slept with a college guy, Olive starts to reach out to other nobodies who just want to get their names on the social network map. She does this by letting them say they’ve slept with her—or engaged in lesser levels of physical endeavors, depending on what they pay her. The rumors spiral out of control, but rather than denying them Olive embraces the identity she’s crafted and completely commits to playing “the slut”.  As things get more complicated Olive has to decide whether the sacrifices she made were really the right thing to do or not.

                For a little guidance Olive turns to The Scarlett Letter—because ironically it’s the book she’s reading in her English class. The famous novel tells the tale of a woman forced to wear a red “A” after committing adultery and it describes the results of her persecution. Olive updates the classic story by vamping up her wardrobe and proudly sporting a crimson “A”.  But, she similarly discovers how being labeled as a tramp results in the world ostracizing you. The heroine of The Scarlett Letter finds redemption and in her own unique way, Olive does too.

The movie also alludes to the engaging work of John Hughes—who famously directed hit 80’s teen movies like The Breakfast Club and Ferris Bueller’s Day Off. The reference is perfect since Hughes’ legacy is grounded in his ability to perfectly capture the issues adolescents were facing back then. Director Will Gluck has accomplished a similar feat with Easy A. Current trends and social phenomenons are perfectly embedded into the story. The movie explores topics such as the ability of one txt message to become a ubiquitous broadcast, choosing infamy as a form of popularity, religion’s reaction to sexual exploitations and the difficulty in standing up for who you are when high school expects you to play by its rules (particularly in regards to sexual orientation).

                Despite these heavy themes the movie is a joy to watch. Stone has Juno-esque dialogue, with her own edgy kick, that she delivers with knockout timing. Olive’s relationship with her parents (Patricia Clarkson and Stanley Tucci) is endearing and hilarious. Tucci’s straight-face deliveries and Clarkson’s playful jibes make the family scenes stand out. Aly Michalka and Amanda Bynes also provide amusing supporting roles that add a jolt of catty high school drama, giving the movie a simple dash of sweet and sour.

                So, if you’re looking for an entertaining, clever comedy look no further than Easy A, it’s a feel-good movie that’s perfect for our generation.

Wall Street and Wall Street: Money Never Sleeps

Wall Street and Wall Street: Money Never Sleeps

Watched: December 30^th 2010

Alright, I was really, really hoping to enjoy these movies. Both bored me to death. A key reason for this is that I’m not at all versed in money vernacular. So half of the movies’ dialogue I couldn’t comprehend. I could keep track of who was screwing over who by the actors’ reactions. The broad strokes were there, but the finer details were lost. I think it’s important to make intelligent films. An audience should not be spoon fed. However, use too much on jargon and your movie will not be relatable to certain viewing groups—which can break the films gross. Beyond that though, the acting was a major problem. Charlie Sheen (who played Fox in the original) did not tug at my heartstrings with any of his weepy, whiney moments. I felt no reason to care for his character at all; and with no interest in the main character why care about the movie about them? His trashy girlfriend was actually interesting but not onscreen enough to save the film. However, her detached voice was not as captivating as her dance between Gekko and Fox. Michael Douglas (Gordon Gekko) was the only one who made a dislikable character charming enough to keep the audience engaged, but he was weighted down with wordy speeches that dragged on (an overall problem in BOTH films). Douglas was great in both but despite a supporting cast of great actors; the sequel missed the mark as well. Shia LeBeouf and Carey Mulligan did as much as they could with crappy roles. Both connected to the ridiculous emotions expected of them and they made valiant attempts to add truth to totally unbelievable moments. Why at the end, after making vast amounts of money, did Gordon’s donation to Jake’s (LeBeouf) charity make Winnie (Mulligan) forgive both of them despite being totally furious with both and claiming to “not care about the money” throughout the film, is beyond me. Josh Brolin did a fantastic job playing the “bad guy” in the sequel, but again he’s hardly featured. Oliver Stone’s shots of the city with numbers and symbols streaming through and all the side shots (specifically those with the dominoes) only lengthened the already boring film and provided no deeper meaning to the film. The effects weren’t even all that visually appealing either. Literally all the wrong people were featured, the villains were more interesting than the heroes, and most of the shots could’ve been cut. I suppose if I understood stocks better I could appreciate the first film as a classic… but there’s no excuse for the sequel.

Black Swan

Black Swan

Watched: December 31^st 2010

Darren Aronofsky understands the duality of the human mind better than any director of this generation. His ability to project the psyche of a soul split in two by their inability to let go of an obsession is the most haunting on-screen imagery of any recent films. Black Swan matches the incredible cinematography seen before in two of his most famous films, Requiem for a Dream and Pi. The story is told so intricately through the camera’s shaky follows, sharp cuts, and sweeping turns around the dancers; making the story come alive to the audience. The actors selected for the roles of the film could not have been chosen better. Natalie Portman shines as an innocent White Swan and plays her opposing inner demons with a chilling gleam of pure evil in her eyes. Her dedication to such a twisted role is so vivid and she makes the audience want to scream for her when she is silent. For once a role focused on weakness, is not weak at all, but instead tortured, invoking pity instead of boredom. Mila Kunis was who really caught my eye though. It almost seems that a triple role was asked of her—the wide-eyed smiling student, a sly rival dancer, and a vicious, unstoppable demon. She embraces all three roles so effortlessly that it might as well be three different actresses. I knew her best as Jackie from That 70’s Show—and I never would’ve guessed she would be so versatile of an actress. Though Portman was absolutely stunning and invigorating, it was Kunis’s danger and unpredictability that left hers as the more memorable role. Overall everything about Black Swan was film-making at its best. With perfect moments of sexuality and horror mixed in with a generous dusting of mind-play means another hit for Aronofsky. Word of caution, the beauty of his lead actresses and the ballet they dance is the spoonful of sugar to help the disturbing, stomach churning lesson go down.

Mr. Smith Goes to Washington

Mr. Smith Goes to Washington

Watched: December 22^nd 2010

I have to admit that there is a very awful portion of my life where if you’d asked me to name a James Stewart movie I’d have only said It’s A Wonderful Life. Thank God I’ve been introduced to him further. Through my obsession with Hitchcock films this semester I joyously watched him in Rope, Vertigo, and Rear Window and there was his turn in The Philadelphia Story. I was truly haunted by his portrayal of John Ferguson in Vertigo. His chilling work as an obsessed and tortured man left me cold and shocked. But it is in Mr. Smith Goes to Washington that he takes obsession to a completely different and far more moving level. The theme of earnest dedication to standing up for what is right against all odds is heart-breaking in this film and Stewart plays the eager and honest Mr. Smith with such pure humanity that he creates a true man out of what could have easily been played as a caricature. The awe Smith feels in seeing Washington D.C. for the first time and his confusion of all the corruption in it are simple emotions that create big waves. Though he is again playing a character that will stop at nothing to get what they want, this time it leaves goose bumps because it is so endearing. He stands on the principles our nation was built on and fights for truth and justice at all costs. This film was released in 1939 yet its message to politics and life in general could still resound today (the mark of a brilliant film).The film spoke of all the “Taylors” of the world—the people who cast a big shadow. One of the best scenes is when Clarissa speaks to Smith when he is at his lowest. The entire scene is shot with them shrouded by that shadow. The film ends with the light triumphing, suggesting even the smallest light can overcome darkness. It is not surprising that Stewart’s performance and the film itself remain such treasures to this day.