Sunday, February 6, 2011

Ebert Presents...

The nightmare of the two Bens is a thing of the past. A.O. Scott and Michael Phillips had their brief moment in the sun. But inevitably, without Roger Ebert attached to the program, Buena Vista had no reason to continue the At the Movies show, with its decreasing popularity. Maybe if they had gone for Scott and Phillips first instead of the flash of the young Ben Lyons, but alas, no.

It has been common knowledge for those of us who care that Roger Ebert, who owns the thumbs trademark, has been shopping around the different networks to find a home for his version of the At the Movies show. Now he has finally found a home, at the old studio where he and Siskel, more then 30 years ago, began their At the Movies show.

The balcony is back, ladies and gentlemen. But of course our handicapped Ebert cannot himself be a co-host as he lacks speaking capabilities and thus could not enter into banter with his co-host. Instead, we get Christy Lemire of the Associated Press and Ignatiy Vishnevetsky of Mubi.com. Lemire is a seasoned critic who guest-hosted with Richard Roeper back when the show was cycling reviewers during Ebert's illness. Vishnevetsky is a more curious figure. Born in the Soviet Union, he moved to America when he was 8 and then eventually to Chicago because he could find more movies here. He manages the Odd Obsessions video store and was offered this position when Ebert heard him speaking at the Lake Street Screening Room and was rather impressed by his eloquence and charisma.

So how do the hosts hold up? Lemire is good, and if you saw her episodes with Roeper, then she pretty much performs as expected. Vishnevetsky is everything ABC wishes Ben Lyons would have been: he's young, charismatic, but what is especially important is that he comes to the table with a deep knowledge of film. He's a smart guy who knows how to say something meaningful about a film, good or bad, whereas Lyons would always spit out really (un)witty taglines for the ads.

But the show still lacks the key element that made Siskel and Ebert so good: the way they would argue. The co-hosts are very cordial, which is to be expected as these two people, I assume, didn't know each other before Vishnevetsky was hired for the show. They are still getting to know each other just as we the audience are getting to know them. But what really drove the old show wasn't just seeing Siskel and Ebert declare their love for a film (my favorite examples of this are Hoop Dreams, Pulp Fiction, and Fargo), it was also seeing them go at each others throat. Of course, I don't want Lemire and Vishnevetsky doing this for the sake of our amusement, and I know they won't. I trust that as they get more comfortable with each other, they will build a rapport that will keep us coming back each week.

The show's other nice touch is additional segments from outside contributors, including bloggers, other critics, and political analysts. Since this program is being broadcast on public television, there are no bigwig producers weighing down on the show to keep it flashy. Instead, there are some terrific segments that you wouldn't expect from any show today. A mock-Citizen Kane trailer introduces the principal players in the show, as well as Ebert's wife Chaz. Its a hilarious and fun segment. Kim Morgan also provides a look back to The Third Man (1949) and shoots her review as if she was apart of the film. And just this past week, political analyst Jeff Greenfield provided a look at why the president, in political movies, always gives a speech at the end that causes the entire crowd to go wild. This is something, Greenfield assures us, that never happens in real life.

And of course, there's Roger's Office, a brief segment where Ebert himself reviews a current film. Of course since he can't speak for himself we get guest voices to convey his words to us. Werner Herzog supplies Ebert's voice for his review of My Dog Tulip, and in the past two episodes Bill Curtis has been taken over the role. We only glimpse Ebert briefly, at the beginning as he types and then at the end when we get his final opinion. These brief snapshots of Ebert are a nice reminder of the old days.

It's a satisfying, if safe, new show that will allow us to get our weekly reviews again, something I have been missing since Scott and Phillips signed off back in August. Recently I was watching TV and a review for the Mechanic came on. The ad was displaying reviews, and mentioned the film received "Two Thumbs Up." I smiled and laughed, because it feels good having those thumbs back after a long four year hiatus.

Monday, January 31, 2011

Top 10 of 2010

And here we are, once again, at that annual of annual traditions where one looks back over what was offered the prior year and evaluates what will indeed live on, for them, as a fantastic film. Of course all these lists were released in December, right? Well, yes, for the critics who get to see everything well in advance and are able to publish these lists. But I am just a common moviegoer, and must wait to see that latest foreign film or simply catch-up (as is the case this year) with films I missed because I was busy with life. But now I have seen the year's offerings and I can say that this turned out to be a better year then I initially thought. But before I release my top ten, I'd like to start off by naming the worst movie of the year:

And the worst movie of 2010 is...

The Human Centipede: First Sequence (2009)
It's grotesque, disgusting and pointless. Actually, I would half admire it if it lived up to its claim of depravity, but once you get past the idea of the premise, it is not a hard movie to swallow and becomes more frustrating with every dimwitted decision made by the principal females. The doctor (played by Dieter Laser) is very creepy, but the rest of the movie is unmemorable and doesn't even make the impact on you it wants too.

Sorry, I just figured it would be better to get the filth out of the way. Now, on to the top 10 of the year 2010!

10. The American
This is oddly one of the most underrated films of the year, as critics and the general public alike seemed to be taken aback by this movie. What most people were expecting, I suspect, is an exciting actioneer starring George Clooney. What we get instead is a mostly quiet film about a hitman who must live his life in solitude (the opening scene alone defies hitmen convention). Clooney acts like a samurai for most of the film, as he hides in a remote Italian village building a gun for a final job. The ensemble is quite strong, and while the movies last moments are a bit telegraphed, the preceding build-up makes the whole film worth it.

9. The King's Speech
It seems like this will surely win the Oscar for everything now, and I'm not unhappy about this prospect. The King's Speech is a terrific film with a great ensemble (Colin Firth, Geoffrey Rush and Helena Bonham Carter, along with the likes of Michael Gambon, Guy Pearce and Timothy Spall), telling the story of King George VI's rise to power and how he had to overcome his stammer to inspire his people to be strong during war. The film works because of the actors, especially Geoffrey Rush who breathes so much life into dialectical coach Lionel Logue. Its a film that inspires you and makes you happy, and we need that every now and then.

8. Animal Kingdom
I had the pleasure of viewing this film with a fiery latin beat thumping through the floors from our neighbors. But that did not alter this film's quality in the slightest (though I have never heard Surfin' U.S.A. played at a more inappropriate time). An Australian film about a teen whose mother dies and is forced to live with his uncles and grandmother, who also just happen to be a mafia-type family. Its a taut film that spends a fair amount of time establishing itself before it really takes off. Guy Pearce shows up here as a detective, and there is one terrific scene after another, building up to a Godfather-esque ending (no, not the executing the five families scene. The other one).

7. Toy Story 3
The long-awaited sequel to the most beloved animated franchise finally arrived and didn't disappoint. While it is a bit of a step-backward from the previous entries, Toy Story 3 still delivers on all fronts, equal parts hilarious, thrilling, and heartfelt. The film deals with that inevitable point in a toy's life when their owner grows up and gets more interested in...well, the internet these days. The toy's donate themselves to a daycare center where they feel all will be better, if not for the oppressive cuddly bear that rules over the place. If anything, the film is incredibly nostalgic for me because it brought me back to being a kid again, and remembering playing with my toys and watching these movies. I do not currently know where all my old toys and dolls reside, but the film's ending is an oddly touching scene (an almost-man bids adieu to his playthings) that leaves one with a sense of fulfillment about the Toy Story universe.

6. Another Year
Mike Leigh may be one of the best directors out there no one knows about. I mean, his films are distributed, but most of the people I know have never heard of Leigh. Its a shame because he turns out such terrific films, and writes them in such a wholly unique fashion (lets just say actors work extra hard on his sets) that I'm surprised hes not more widely known. Another Year concerns a happily married couple, Gerri (Ruth Sheen) and Tom (Jim Broadbent), and, well, a year in their life that takes through select days of the four seasons. Its a fantastic study of loneliness and relationships and connections. Really, I don't want to say too much about this film because I went into knowing the bare minimum (the trailer gives nothing away) and came out confident that there are still terrific filmmakers out there.

5. True Grit
Probably the Coens most straight-forward film...ever, this is a fantastic Western, set in the dying days of the West as technology and progress move in and take over. Jeff Bridges is expectedly great as 'Rooster' Cogburn, a role that one John Wayne his Oscar, and Matt Damon as the Texas Ranger is equally impressive. But the real star of the film is newcomer Hailee Steinfeld, who plays the fearless and gregarious Mattie Ross with such verve that she lights up every scene. The simple story of a girl seeking revenge for her father's death is played out through many quiet scenes, punctuated by brief spurts of violence. It's a deeply touching movie, and is bolstered by Roger Deakins stunning cinematography.

4. Scott Pilgrim vs. the World
I only liked this movie initially, but like Edgar Wright's other films (Hot Fuzz and Shaun of the Dead) repeat viewings brought this movie to the front of my attention. Its a simple boy-meets-girl story, and plays out much like a musical. Except, instead of musical numbers, fight scenes where our protagonist (Michael Cera) must defeat his sweetheart's seven previous lovers ensue. The film is a hybrid of video games and graphic novels (it is based of such a graphic novel from a lover of video games). The movie is a kaleidoscope of effects that take some time processing, as various texts fly through the scene to accentuate actions. It's absurd and a lot of fun, and though its characterizations are slight (his girlfriend is quite literally the girl of his dreams), its something I never tire of. And those films are just as important as the prestigious ones, right?

3. A Prophet
This foreign film was up for the best Foreign Language Oscar last year, but was not give a real release until February so it counts. A stark, harrowing look at life in prison, as a young Arab is sent there and soon ends up working closely with mafia kingpin stuck inside. The movie kicks off with a fantastic first thirty minutes, in which Malik (Tahar Rahim) must sneak a razor in his mouth to a meeting with a victim and then kill him. Everyone remembers the shot of him, as his mouth bleeds, pulling the razor out. The movie flows seamlessly and is one of the standout films of the year.

2. Exit Through the Gift Shop
I don't think I've every ranked a documentary this high before, but this is that good. It may be in part because the film could be fake (I don't believe Thierry, the frenchmen who is the film's subject, is made up). But one thing is for sure: it gets us close to Banksy, the director of the film, a famously elusive and anonymous street artist whose work includes the guantanamo prisoner at Disney Land and stencils on the West Bank wall. It's about street art, it's about a mad frenchmen who films everything about the movement, and its about how art can be exploited and people are so hungry to grab the hottest item that they'll pay outrageous money for something that isn't necessarily art at all, but imitation. Its definitely one of the finest documentaries, and finest films, I have ever seen.

1. The Social Network
Yes, I know, I know. I have now associated myself with the hive mind of critics out there that declared this the best film. But I have seen it four times and know that there is nothing better this year. The film is about Facebook, and part of what makes it so damn brilliant is how it takes what sounds like the most boring film of the year and makes it the most fascinating. Aaron Sorkin's brilliant dialogue is supported by an exception cast that includes Jesse Eisenberg, Andrew Garfield (our new Spider-Man), Justin Timberlake (ironically playing the man that brought down record companies), Rooney Mara (the new Girl with the Dragon Tattoo), and Armie Hammer (playing both Winklevoss twins). From the sumptuous cinematography (shot on the R3D no less), to the perfect editing, to the fantastic and utterly unique score by Trent Reznor and Atticus Ross, there is no other film like this one. It is a film for out time, for our generation, our opportunity to turn to the world and say "Fuck you, I'm CEO, bitch!"

Sunday, January 16, 2011

Golden Globes: Won vs. Predicted (2011)

Best Supporting Actress - TV
Prediction: Kelly MacDonald
Winner: Jane Lynch

Best Supporting Actor - TV
Prediction: David Strathairn
Winner: Chris Colfer

Best TV Actress - Drama
Prediction: Julianna Margulies
Winer: Katey Sagal

Best TV Actor - Drama
Prediction: Steve Buscemi
Winner: Steve Buscemi

Best TV Actress - Musical or Comedy
Prediction: Laura Linney
Winner: Laura Linney

Best TV Actor - Musical or Comedy
Prediction: Jim Parsons
Winner: Jim Parsons

Best Actress in a Mini-Series or TV Movie
Prediction: Judi Dench
Winner: Claire Danes

Best Actor in a Mini-Series or TV Movie
Prediction: Edgar Ramirez
Winner: Al Pacino

Best Mini-Series or TV Movie
Prediction: The Pacific
Winner: Carlos

Best TV Series - Musical or Comedy
Prediction: Modern Family
Winner: Glee

Best TV Series - Drama
Prediction: Mad Men
Winner: Boardwalk Empire

Best Foreign Language Film
Prediction: Biutiful
Winner: In a Better World

Best Animated Film
Prediction: Toy Story 3
Winner: Toy Story 3

Best Original Score
Prediction: Inception
Winner: The Social Network

Best Original Song
Prediction: "I See the Light" - Tangled
Winner: "You Haven't Seen the Last of Me" - Burlesque

Best Screenplay
Prediction: The Social Network
Winner: The Social Network

Best Director
Prediction: David Fincher
Winner: David Fincher

Best Supporting Actress
Prediction: Melissa Leo
Winner: Melissa Leo

Best Supporting Actor
Prediction: Christian Bale
Winner: Christian Bale

Best Actress - Musical or Comedy
Prediction: Annette Bening
Winner: Annette Bening

Best Actor - Musical or Comedy
Prediction: Johnny Depp
Winner: Paul Giamatti

Best Actress - Drama
Prediction: Natalie Portman
Winner: Natalie Portman

Best Actor - Drama
Prediction: Colin Firth
Winner: Colin Firth

Best Picture - Musical or Comedy
Prediction: The Kids Are All Right
Winner: The Kids Are All Right

Best Picture - Drama
Prediction: The Social Network
Winner: The Social Network

Results: 13/25

So between this year and last year, I'm batting .360 in predictions, which is pretty good considering I dont' care about these awards. Though, I did much better in the film categories, where I got 10/14 right. Anyways, awards season has officially begun!

68th Golden Globes Predictions

I don't really care about the Golden Globes and will more likely then not end up watching them tonight. But that won't stop me from making my predictions. Call it a warm-up: I'm stretching my legs and testing the waters, seeing how well I do. Last year I think I got 5/25 right. So, I'm aiming to maybe doing better this year (though TV hangs me up because I rarely see any of the nominations in a category). So, what will be win this year? I'll list all the nominees, and put in bold my predictions

Best Performance by an Actor in a Supporting Role in a Series, Min-Series or Motion Picture Made for Television
Scott Caan - Hawaii Five-O
Chris Colfer - Glee
Chris Noth - The Good Wife
Eric Stonestreet - Modern Family
David Straithairn - Temple Grandin

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Hope Davis - The Special Relationship
Jane Lynch - Glee
Kelly MacDonald - Boardwalk Empire
Julia Stiles - Dexter
Sofia Vergara - Modern Family

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Idiris Elba - Luther
Ian McShane - Pillars of the Earth
Al Pacino - You Don't Know Jack
Dennis Quaid - The Special Relationship
Edgar Ramirez - Carlos

Best Performance by an Actress in a Mini-Series or Motion Picture Made for Television
Hayley Atwell - Pillars of the Earth
Claire Danes - Temple Grandin
Judi Dench - Return to Cranford
Romola Garai - Emma
Jennifer Love Hewitt - The Client List

Best Mini-Series or Motion Picture Made for Television
Carlos
The Pacific
Pillars of the Earth
Temple Grandin
You Don't Know Jack

Best Performance by an Actor in a Television Series - Comedy or Musical
Alec Baldwin - 30 Rock
Steve Carrell - The Office
Thomas Jane - Hung
Matthew Morrison - Glee
Jim Parsons - The Big Bang Theory

Best Performance by an Actress in a Television - Comedy or Musical
Toni Collette - United States of Tara
Edie Falco - Nurse Jackie
Tina Fey - 30 Rock
Laura Linney - The Big C
Lea Michele - Glee

Best Television Series - Comedy or Musical
30 Rock
The Big Bang Theory
The Big C
Glee
Modern Family
Nurse Jackie

Best Performance by an Actor in a Television Series - Drama
Steve Buscemi - Boardwalk Empire
Bryan Cranston - Breaking Bad
Michael C. Hall - Dexter
Jon Hamm - Mad Men
Hugh Laurie - House
Rationale: He won't win, but he's the only new face in this category this year, so...more power to him.

Best Performance by an Actress in a Television Series - Drama
Julianna Margulies - The Good Wife
Elisabeth Moss - Mad Men
Piper Perabo - Covert Affairs
Katey Sagal - Sons of Anarchy
Kyra Sedgwick - The Closer

Best Television Series - Drama
Boardwalk Empire
Dexter
The Good Wife
Mad Men
The Walking Dead

Best Original Song
"Bound to You" - Burlesque
"Coming Home" - Country Strong
"I See the Light" - Tangled
"There's a Place for Us" - The Chronicles of Narnia: The Voyage of the Dawn Treader
"You Haven't Seen the Last of Me" - Burlesque

Best Original Score - Motion Picture
Alexandre Desplat - The King's Speech
Danny Elfman - Alice in Wonderland
A.R. Rahman - 127 Hours
Trent Reznor and Atticus Ross - The Social Network
Hans Zimmer - Incpetion

Best Screenplay - Motion Picture
Simon Beaufoy, Danny Boyle - 127 Hours
Christopher Nolan - Inception
Stuart Blumberg, Lisa Cholodenko - The Kids Are All Right
David Seidler - The King's Speech
Aaron Sorkin - The Social Network

Best Director - Motion Picture
Darren Aronofsky - Black Swan
David Fincher - The Social Network
Tom Hooper - The King's Speech
Christopher Nolan - Inception
David O. Russell - The Fighter

Best Foreign Language Film
Biutiful
The Concert
he Edge
I Am Love
In a Better World

Best Animated Feature Film
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3

Best Performance by an Actor in a Supporting Role in a Motion Picture
Christian Bale - The Fighter
Michael Douglas - Wall Street: Money Never Sleeps
Andrew Garfield - The Social Network
Jeremy Renner - The Town
Geoffrey Rush - The King's Speech

Best Performance by an Actress in a Supporting Role in a Motion Picture
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Mila Kunis - Black Swan
Melissa Leo - The Fighter
Jacki Weaver - Animal Kingdom

Best Performance by an Actor in a Motion Picture - Comedy or Musical
Johnny Depp - Alice in Wonderland
Johnny Depp - The Tourist
Paul Giamatti - Barney's Version
Jake Gyllenhaal - Love & Other Drugs
Kevin Spacey - Casino Jack

Best Performance by an Actress in a Motion Picture - Comedy or Musical
Annette Bening - The Kids Are All Right
Anne Hathaway - Love & Other Drugs
Angelina Jolie - The Tourist
Julianne Moore - The Kids Are All Right
Emma Stone - Easy A

Best Motion Picture - Comedy or Musical
Alice in Wonderland
Burlesque
The Kids Are All Right
Red
The Tourist

Best Performance by an Actor in a Motion Picture - Drama
Jesse Eisenberg - The Social Network
Colin Firth - The King's Speech
James Franco - 127 Hours
Ryan Gosling - Blue Valentine
Mark Wahlberg - The Fighter

Best Performance by an Actress in a Motion Picture - Drama
Halle Berry - Frankie and Alice
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winter's Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine

Best Motion Picture - Drama
Black Swan
The Fighter
Inception
The King's Speech
The Social Network

At some point later tonight I'll post how I did. This is more a mixture of what I think will/should win (more should, though I gave score to Inception because I feel Social Network's is too odd for the HFPA).

Monday, January 3, 2011

The Human Centipede: First Sequence (2009)

This movie came out a while ago, and while I normally don't review films that are not currently in theaters, I feel this one kind of merits a review. Maybe.

I never actually planned to watch this film: I heard so much about it through various reviews and friends that I decided there was no point. But, ultimately, curiosity won out and I sat down with a group of friends to review what is one of the most talked about films of the year.

For those of you that really don't know, The Human Centipede tells the story of two American girls (Ashley C. Williams and Ashlynn Yennie) on a eurotrip who find themselves stranded in the middle of Germany at some creepy guy's house when their car breaks down. They are drugged and awake on a make-shift hospital room in the man's basement, who happened to be Germany's most skilled surgeon (he is Dr. Heiter, played effectively creepy by Dieter Laser). They learn they are to be joined, ass-to-mouth, with another man (a Japanese guy played by Akihiro Kitamaru) to create a human centipede. Why? Who knows, but let's just say you don't want to be stuck in the middle.

When I went into this film, I was expecting to be completely grossed out, revolted, and slightly shaken by the movie. And you know what? I wasn't. True, the film displays some horrific acts against humanity, and the sheer depravity of the whole idea makes one sick, but the film achieves this through what most will agree is very little violence. That's not to say what happens isn't sick; the good doctor makes the human centipede a sort of pet, and the graphic nature of the attachment is gross. But there are no ruthless beheadings, or endless torture scenes. Once you get over the idea of the human centipede, it becomes easy to swallow.

Speaking of swallowing, the films most sickening sequence involves one member of the centipede swallowing excrement (with the good doctor yelling, "Swallow it, bitch!"). Yet this scene is achieved by the actors performance, not by actually watching someone swallow make-shift poo.

The movie frustrates, however, as characters make key idiotic decisions where, if they had made a different decision, they might have gotten out of the situation. Por example: one of the girls actually frees herself and the good doctor goes to attend to a power surge issue. But instead of running away, she rescues her unconscious friend and drags her out of the house (I should also mention she is bleeding profusely from a recent injury). Once, out the door, though, the good doctor finally shows up and tranquilizes her (and decides to make her the middle piece).

Now, on the one hand Tom Six, the writer and director, is most likely just making a commentary on most horror films, where characters make incorrect key decisions. That's all fun and good, but the Scream films have already made this pitfall of horror very well known, and so these character decisions come off as lazy writing.

Overall, I wasn't moved by the film either way. I actually forgot about it and have only just now returned to pondering it. It's technically well made, and there's no doubt the Human Centipede will become an iconic monster, at least for the midnight crowd. But I dislike these movies so much because I don't see the point in their existence. Who honestly finds this entertaining? Who will actually admit to looking forward to films like these? I don't want to know you. There are people who like the gross out stuff, and we all know this isn't real. But honestly, what's the point?

On one final note, Tom Six is making a sequel that is due out at some point this year. You'll notice the secondary title is "First Sequence." The next one is the "Full Sequence," and I guess we are going to get a 12-person centipede. There's already an amusing teaser online in which Six speculates about all the hate he's gotten from people calling it the most disgusting film ever made. Well that's giving this film too much credit.

Wednesday, December 15, 2010

Black Swan (2010)

There have been many movies in the history of cinema that deal with people descending into the realm of madness: Ron Howard's A Beautiful Mind (2001), Martin Scorsese's Taxi Driver (1976), Stanley Kubrick's The Shining (1980), and Darren Aronofsky's own Requiem for a Dream (2000). Aronofsky's latest film, Black Swan, deals with obsession and madness through Natalie Portman's ballerina character Nina, who vies for the lead role in the widely-known swan lake.

But there is a catch to this Swan Lake: the director of the show, Thomas (Vincent Cassel), wants the same ballerina to play both the white swan and the black swan. For those who don't know swan lake, here is the quick rundown: a beautiful princess is turned into a swan, and must win the love of the prince to turn her back. Sadly, the prince is seduced by the black swan, the swan princess' sister, and so the white swan commits suicide. I'll be frank in saying this movie is not subtle about dealing with the duality of the swan characters and Portman's own inner struggle to embody both roles.

Portman's Nina is an uptight character who has a sense of entitlement to the role, and just wants to be perfect at everything. This is not what Thomas is looking for: he is looking for someone who knows how to let go, to inhabit the rigid, beautiful perfection of the white swan, and the dark, seductive nature of the black swan. Nina is a perfect white swan, but a terrible black swan. "Would you fuck this girl?" Thomas inquires of the ballerino (is that the correct term?). He can't answer. The point is made

(I have just googled "male ballerina." Indeed, ballerino came back as a positive name, though the french word "danseur" is also common)

This is a frighteningly tense movie, and it keeps you on the edge of your seat for so long that when Mila Kunis' character Lily shows up and takes Nina out for a night on the town, you relax because you can finally just let go, like Nina does. It is then to the director's credit that he keeps us as uptight as Nina, relieving us only when Nina does.

And the movie is incredibly effective as a horror film as well. Nina develops a rash on her back, and constantly has visions of peeling her skin off, cutting her toes, and even pulling feathers out of her back. The movie blurs the line between reality and fantasy so much that you get lost, with Nina, in what is going on. By the end all is clear, which is slightly disappointing because I would have loved some ambiguity left to whether certain events did transpire.

But where the movie goes too over the top is in its visual effects department. Nina's skin crawls, her legs bend awkwardly, and a whole assortment of weird stuff happens that doesn't need to. We get she is going mad, and crawling skin is too obvious a way to sell it to us. The audience is generally pretty smart and can figure out what is going on. The visual effects do pay off in when beautifully rendered shot near the end, as Nina fully embodies the black swan.

SPOILER ALERT
I really had a problem with the film's ending as well. I don't disagree with the events that take place, as it is appropriate for the story and the mirroring of the ballet taking place. No, what I don't like is how similar the ending feels to The Wrestler (2008), as Randy jumps from the ring and everyone chants his name before the screen goes black. Nina jumps too (it is the role of the swan), and then everyone begins chanting her name as the screen whitens out. It's not really that the endings are similar in story, but its also similar in the way he executes it.
END SPOILER ALERT

This movie belongs to Portman, who turns in a terrific performance that is sure to garner her tons of accolades and awards, perhaps an Oscar. Was it the best of the year? Hard to say, as I still have many more films to see. But Portman sells her role, and is able to transfer from uptight, to relaxed, and completely seductive throughout the course of the film. The Academy loves showy performances over the simply, quieter ones, and this one surely draws attention.

Black Swan, in the end, succeeds at being an exceptional thriller and performance piece, and showcase for both Aronofsky's excellent sense of tension and Portman's terrific prowess as an actress. Though it goes over the top and is not something I'd sit through again soon, I do recommend it highly. Just be warned that it is an exhausting movie emotionally, and as Nina feels relieved, so do we.

Rated R for hot lesbian lovin', hot Natalie Portman masturbatin', and creepy teacher-inappropriately-touching-student lovin'. Also blood.

Sunday, November 28, 2010

Harry Potter and the Deathly Hallows: Part Une (2010)

Harry Potter has come a long way from where he started as a wide-eyed child entering the magical gates of Hogwarts. Then, the magical world was a bright and happy place, with dangers lurking around corners, but easily solvable with a little determination and ingenuity. The films and books have become increasingly darker in tone as the characters age and the bright world shatters around them; indeed, a metaphor for all children growing up and realizing life is not the easy, happy experience they thought it would be.

Deathly Hallows opens with the cold-blooded murder of a Muggle Studies teacher, and the bodies begin piling up from there. Harry, Ron, and Hermione (do I need to tell you who plays them?) must set out to find and destroy Horcruxes, evil objects that conceal bits of Voldemort's soul. They start under the protection of their elders, but soon set out on their own and are stranded in the English countryside with nary a clue as to what to do.

As a Harry Potter adaptation, this is the film I have been waiting for. By splitting the book in two parts (also a clever ploy to make more money), writer Steve Kloves and director David Yates are finally allowed to take their time, and really let us get to know these people that we have seen grow up before our very eyes. The movie adds scenes that aren't in the book that help deepen the characters: in the opening we see Hermione erase her parents memories and Harry and Hermione share a dance when all is bleak.

Of course, the film neglects certain details that help flesh out other characters: Lupin's reluctance to stay with Tonks is something they eliminated, though I think that is a powerful scene that forces Harry to accept the fact that he really is on his own, and can no longer rely on adults. And Kreacher's development is thrown out, as he becomes a loyal slave to Harry Potter, someone he once resented.

Otherwise, this film is basically the book, even including long passages in the second half of the trio wandering aimlessly through the woods trying to decide what to do next. As far as a Harry Potter movie is concerned, it is decidedly quiet. There are explosions and chases at the beginning, and many deaths permeate the film; but the film lives and breathes with its quieter moments, including a scene between Ron and Hermione playing a piano, and Ron's continual monitoring of the radio to hear who has died.

The reason Prisoner of Azkaban has been continually lauded as the best in the Potter series is because Alfonso CuarĂ³n gave the film a natural pace, and it flowed as a movie would. It also changed the landscape of the Potterverse and brought the series down to darker depths. Harry Potters 1 - 2 and 4 - 6 have always had a rushed sense about them, though I feel Yates found a better sense of pace in Half-Blood Prince.

When both films are combined they will probably total five hours or so, and will be glorious retellings of a story every Potterfan loves. The only real problem with the film is its eventual and unavoidable sudden ending, but that can be forgiven as it is only half a movie. People will be frustrated because it isn't the same Potter film of the past; its a slower film, and I loved that. And it raises the expectations even higher for Harry's grand finale next July as the Battle of Hogwarts takes place. Yates has delivered introspective Potter; now, the public is hungering for epic Potter.

One final note: the film contains a beautifully animated segment telling the story of the Deathly Hallows, narrated by Emma Watson. Its these touches that help the movie succeed.