Tops 5 films of 2011 so far...

We are a little beyond the halfway marker for the 2011.  So, I’m doing a countdown of my top five films of the year so far.  Granted I have not seen every movie out there, and there are a few that I have not had a chance to catch up with that would no doubt be in contention for this list are: Win Win, Midnight in Paris, Beginners, and Jane Eyre.  So with that disclaimer, I give you my top five of 2011 so far in order from five down to my number one.

5.) Coming in at number five I have J.J. Abrams homage to Steven Spielberg,Super 8.   With its blend of mysterious aliens, and a rag tag group of youngster using their summer freedom to make a zombie flick, Super 8, managed to capture my youth and everything I loved about 80’s cinema.  For me the two storylines worked well as the kids’ and alien’s worlds came closer together leading us to a heart-wrenching climax that I have to admit left the theatre a little dusty.  Sure, some of the camera angles and placement only serve to hide the creature’s identity at times, and there are a few moments of suspended disbelief, but overall Abrams homage had everything I wanted in a great summer flick.  The film left me satisfied and more importantly hopeful that with great directors, like Abrams, there is still a place for a bit of story magic in Hollywood.  That’s why Super 8 is my number 5.

4.) Just making my number four slot is none other than Duncan Jones Sophomore effort, Source Code.  Source Code’s high concept and great direction ultimately pay off, in what some have called a resurgence of “Hictchcokian” suspense.  For me the sci-fi elements were enough to keep me engaged and glued to all the twists and turns in this thriller.  The performances are solid, despite Jeffrey Wright’s “mad scientist” role turning a little hammy at times, and Gyllenhal pulls off the “dude with a problem” archetype perfectly as he navigates the memories of his Quantum Leapesque alter, Sean Fentress.  Overall the Groundhog’s Day meets john Malcovich elements worked really well to breath some life into sci-fi, which has been taken over by the horror genre in recent years.  I’m glad Jones and Co. have given us a reason to push the genre into a new direction while maintaining the elements that helped define it.  Hopefully we’ll see more from Jones soon, and that’s why Source Code deserves my number 4 slot.

3.) Winning the battle for my number 3 slot is the great documentary,American: The Bill Hicks Story.  I walked into this film, not knowing really anything about it, or really anything about Bill Hicks.  Yes, I had heard the name before, but never had a chance to sit down and see what all the fuss was about, but I’m glad I did.  American, is the true story of famed comedian Bill Hicks, whose blend of political and social humor carved out a large place for his sometimes over the top comedic persona.  This documentary is truly top notch engrossing subject matter, and directors, Paul Thomas and Matt Harlock, bring the story to life through some amazing visual graphics and photos.  Accompanied by personal accounts from Bill’s friends and family,American, paints a picture of a trouble young comic’s rise, fall, and rise again into the comedy hall of fame.  This is a beautiful crafted brutally honest look at a brilliant comic who passed in his prime.  Unlike most docs, this particular one doesn’t have much of a social agenda, but serves more as a cautionary tale.  I think the most admiral quality of the film is the way it makes ourselves reflect on our friends and how much influence they have in our lives and memories.  So, check this great doc out on netflix streaming and pay homage to my number 3 and true American, Bill Hicks. 

2.) My number two is none other than everyone’s favorite super human thirteen-year-old, Hanna.  This film fires at all the senses as we explore hyper reality through the camera lens of future Oscar winner, Joe Wright.  Accompanied by an all-star cast including: Cate Blanchett, Soirese Ronan, and Eric Bana, Wright and Co. manage to create an incredibly visceral coming of age thriller.  The action sets are excellent, but remain balanced as Hanna begins to discover life outside of her father’s institutions.  Hanna is a feast for the eyes, but one aspect of this film that sores above others is its unique sound track and overall mix.  It’s riddled with sound effects, and nuances that captivate Hanna’s virgin mind conveying the confusion and excitement she must feel at every turn.  Blanchett is superb as the over the top CIA agent that must cover her own tracks and stop Hanna.  There are extremely longs takes in this film that culminate in what one could only describe as a “symphony of violence” that any true cinemafile would appreciate.  Wright’s direction and story telling have never been better; he has really pushed the boundary of his own comfort levels expanding his toolbox to the unfamiliar.  Hanna is a great ride, which is a stray from the usual fair.  With strong female protagonists and kids man-handling adults, Hanna knocks its way to number 2 on my list.

1.) My number one is full of all my guilty pleasures: quirky characters, a great soundtrack, beautiful cinematography, surreal thoughts, and teenage angst.  Yes, I’m speaking of Richard Ayoade’s indie, Submarine. Ayoade’s unique blend of comedy and heart culminate into a beautiful coming of age story that Wes Anderson and Hal Ashby would be proud to call their own.  The story is simple, but the characters are deeply complex.  Keeping the plot simple keeps the story moving, while the surreal thoughts of Oliver Tate play like dreamscapes I want to visit over and over.  Unfortunately movies like Submarine suffer from limited engagements and low distribution.  Hopefully if more audiences demand distributors get their mitts on more original films than the standard Hollywood fare, films like Submarine, stand a good chance of saving the cinema from seasoned clichés and Michael Bay wannabes.  Do yourself a big favor, if you live in the Chicago, LA, or NYC area make your way to the theatre and show you support.  However, I realize most of you won’t be able to journey to these locations; so, please ad this to your netflix queue and continue to support indie film.

And that about wraps it up for my top five.  Again there are some films that I would like to see that have already come out that more than likely would have made my list.  This list will no doubt change as we begin to wrap up the rest of the year in cinema.  Perhaps one of these five picks will be lucky enough to run the gauntlet and Oscar season to remain afloat in the coveted spots.  Again if you agree or disagree with my opinions consider posting a response.

Soucre Code Review

I know.  I’m a little behind on this particular film.  I am actually disappointed that I didn’t make time to catch up with it in theatres.  However, I’ve finally returned from the Stone Age and entered the “now” recently to sit down and watch Duncan Jones sophomore effort, Source Code.  For those that don’t know who Jones is; he is the son of Ziggy Stardust himself, David Bowie.  Jones, made his freshman debut with the great little sci-fi film, Moon.  After carefully picking his next project, he has finally been handed a beefed up budget, solid script, and some top-notch talent.  In the world of cinema this is where Jones belongs, where the air is crisp.  No doubt, if you can’t tell already, I like Duncan Jones.  So, I had high hopes for this thriller, and needless to say I wasn’t disappointed. 

Source Code follows Cpt. Colter Stevens (played by Jake Gyllenhal), who finds himself strapped in an enclosed capsule of some kind, alone, and with little memory of his recent past.  All he really knows is that he was a soldier in Afghanistan, then woke up in the capsule, and is now forced to relive the last 8 minutes of Sean Fentress’ life on a train speeding toward Chicago (don’t worry we’ll get to this) in hopes to find out information about a terrorist bombing that will take place in the near future.  Wow, that was a mouthful.  To break it down for you the premise is a more or less a Groundhog Day meets Being John Malcovich, where “Sean Fentress” is Malcovich and Gyllenhal is the puppet master pulling the strings.  While Colter is forced to relive the train crash and use his detective skills to hone in on the terrorist, he also struggles to find out his own past and determine how he ended up in this capsule.  As an audience member, I felt that Jones does a great job of letting me “experience” this film.  Each twist and new development kept me in suspense; guessing the next move Colter might make, only to be surprised later.  For me, this is a sign of a great thriller.  Nothing is terrible predictable, but you also don’t feel like Alice tumbling blindly down the rabbit hole.  Jones manages to balance all of these aspects, in a pretty high concept thriller that feels like a fresh take on the sci-fi thriller.  This is one of those films where the trailer is fairly miss leading.  Upon first glance, I think whoever marketed this film tried to sell it with a romantic angle.  And, yes, while there is a bit of that aspect, its pretty void of overtly “Hollywood” plot devices that just serve to broaden the audience share.  Jones’ direction is solid over all.  I think he knows just where to put his camera and pull solid performances from the talent around him.  Sure, at times, some of the performances get a little hammy, but Jeffrey Wright is supposed to be playing a mad scientist arch-type.  And frankly, I think it works.  Maybe this is just me reading into this too much, but a common theme I’ve noticed between Jones’ two features, is that Source Code, like Moon, places our protagonist in tight quarters.  Jones’ loves these characters that are trapped in their environments.  He does a tremendous job of making you feel isolated and alone.

As for the performances I think Gyllenhal is good choice as Colter Stevens, and he does a nice job playing the Quantum Leapesque detective he must embody inside the train memory.  Where I think Gyllenhal’s performance really shines though are the scenes that take place in the capsule.  Like him, I felt suffocated by the capsule, I wanted to break out and feel some sunshine if only for a few moments.  Over all his emotions on screen feel genuine when another less seasoned actor I think would have had difficulty conveying that on screen.  Vera Farmiga is also excellent as Goodwin, the mentor and puppeteer behind the reasons why Stevens is in the capsule to begin with.  As she de-briefs Stevens after each returned visit from the train crash, the hard exterior she is supposed to maintain weakens, and she begins to feel sympathy for the Captain.  Her transition at times feels a little too convenient, but never truly forced.  Overall she does a great job keeping her character interesting despite her task of delivering most of the exposition in this story.  Michelle Monahan, who plays Christina, the recent girl of interest of Colter’s alter ego, Sean Fentress, is decent.  She’s not great in this role, but I felt ultimately her character isn’t really given a lot to do.  She is sort of this fly on the wall for most of the film because her character has no idea the events happening outside the memory.  In a lot of ways she serves to help Stephens find meaning in his “mission” and to offer a spark of romance.

In the end, Source Code, manages to be a breath of fresh air.  Its unfortunate that I was unable to catch this one on the big screen, but I’m really glad I had a chance to see it finally.  It’s nice to finally have a sci-fi thriller that is totally void of angsty vampires, wolves, or wickens (which technically are fantasy characters, but Hollywood seems to have lumped them into sci-fi).  If you didn’t have a chance to catch up with Source Code, consider skipping the theatres this week and staying in.  A solid 3.75 out of 5.

Love the Beast Review

Eric Bana, acclaimed actor and star of countless successful films, makes his directorial debut with, Love the Beast. Beast is a documentary that follows Bana’s obsession outside the acting world, car racing.  More specifically though, Beast is about his love for his Ford GT Falcon Coupe, a classic American muscle car.  I’m not going to pretend that I’m a huge “gearhead”, but I do have an appreciation for fine automobiles and the engineering behind them.  Bana’s appreciation for his car goes beyond the norm.  I think it’s fair to say that Bana loves this car as you or I might love a pet, or even one of our own children.  It’s not dangerous or bordering on insanity, but more about what this car stands for and the memories that Bana’s crew shared working on the Falcon.  In reality I found his admiration towards this hunk of metal and super charged pistons endearing.  I can’t think of anything in my own life that has brought me the same amount of joy as this car has brought him. 

The Falcon is more than just a “car” it’s a symbol, a symbol of freedom that many of us can relate too.  Your first car is the step toward independence, the first time when you are the one behind the wheel feeling as if you are totally in control.  It’s a microcosm for our entry toward adulthood.  All we need to do is pick a direction and the road will take us to wherever we want to go.  I think at its core, even if you aren’t a “gearhead”, this film speaks to you on that level; it’s relatable. 

After pondering about this film, I re-watched this gang of misfits pour their blood and sweat into this machine several times over.  Their dedication is unflinching as they bring the “Beast” back to life and prepare for Bana’s second attempt at a five-day drive across the streets of Australia.  A grueling race that challenges the most seasoned drivers.  As we follow Bana and his driving mate, Barry Oliver, through city roads, small towns, and large stretches of open road, I too found myself falling in love with the Beast.  I’m actually getting emotionally attached to this car.  I want to be in the garage having a beer, working on the suspension with the guys, taking the car out on the open road, or opening up the 600 horses upon the streets of Australia.  In some ways its funny how this car brought these friends together, kept them off drugs and away from crime.  It gave them purpose and in a weird way I feel that by watching this film, I too have become a part of this crew.  As my desire for Bana to finish the race grows, my connection to the car grows as well.  And that’s the point, and where Bana’s film really succeeds.  Bana has managed to make you a part of his family, if only for an hour and half, you really feel that you have been initiated into this group.

It’s only when Bana makes a small mistake during the race steering off the road and creaming into a tree that I’m brought back to reality.  With the car mangled and crushed, so too was my heart.  Just seeing the car lifeless is almost more than I can bear, I even forgot to make sure that Bana and his driving partner are “okay”.  And, yes, they were fine.  They barely had a scratch on them, but the car, along with Bana’s dreams of finishing the race, were gone.  Bana’s reaction to the incident is gut wrenching, he is almost worse off now, than he was when the car wasn’t even moving.  He must start all over from scratch.  Bana’s plans to work on the car are put on hold as the third act winds to a close.  Reality has checked back in with Bana and now he must go on the road to promote his next Hollywood film.  This brings me to my favorite moment in the film.

There is a beautiful moment towards the end; it’s short, but honest.  It happens as Eric begins to prepare himself for a walk down the red carpet.  As he laces up his shoes, he groans about how little this appearance means to him, how he must carefully choose his wardrobe, how every decision he makes will be scrutinized by the media.  And all of it means nothing; it means nothing because the car is dead and sitting on cinder blocks.  It’s so trivial; all he wants to do is get back into the garage, where things make sense.  It’s a beautiful contrast between his obligations and his passion.

Love the Beast is a great doc.  It’s a nice break from documentaries that have an agenda.  This film is more a love story that isn’t trying to convince you of anything, it’s just trying to share something with you and remind us what it’s like to have passion for what you love.  Love the Beast: 4 out of 5 stars.

Transformers: Dark of the Moon Review

Michael Bay and gang are back (minus Megan Fox) in Transformers: Dark of the Moon.  I’m not going to waste a lot of time getting into the plot of this film or even a small summary of events.  The gist of the movie is quite simple, good robots are defending earth from bad robots (pretty much the same plot in all these films).  The good robots, or Autobots, need to get some kind of “McGuffin”, which will no doubt destroy earth and alter the course of human history.  That’s it, nothing more, nothing less, and yet, surprisingly this third installment has more plot and character development than its predecessors (which I realize isn’t saying much).

T:DOTM is filled with a ton of action.  This film is on more steroids than the 1999 “home-run race” between: Sammy Sosa and Mark McGwire (too soon?).  The opening of the film, which sets up the limited plot, infuses the film with a brief alternate history lesson that is fun and visually interesting.  It’s also the only part of the film void of any explosions, slow motion, or half naked woman.  DOTM is the film equivalent of a shark.  All sharks do are eat and swim, they’re pure primal instincts.  DOTM is no different; this movie is a three-part formula: run for your life (while yelling, of course), look at the semi-naked girl, cue explosion, rinse, and repeat.   And that’s not necessarily a bad thing.  This is a similar formula we have seen in the first Transformers installment, and unlike the second installment in the trilogy, Bay and Co. have gone back to what made this series work.  DOTM is absent of any robot testicles (yes, this happened), racist comic relief, and over complicated filmic devices that serve to move the plot forward, but confuse the audience.  Bay’s team manages to deliver a silly fun popcorn flick that fires at all the senses.  Even the 3D, which may be the real star of this movie, is well done. 

Bay, who originally was adamant that the third film would not be shot in 3D, eventually succumbed to studio pressure.  I have to give the man some props for at least putting up a fight for all of us tired of the so-called “third dimension”.  And, I have to admit the 3D in the film is maybe the most tastefully done aspect of the film.  Prime and all of his comrades have never looked better.  ILM (Industrial Light and Magic) has done an amazing job with the visuals in this film, and the 3D only helped to enhance their visual stylings.  For those of you that are visual effects junkies, this is a “must see”, and even if your not this will at least make you appreciate the painstaking effort all of those visual artist go through to bring all those 1’s and 0’s to life.  For me personally, I continually ask the question, “How in the hell did they make this movie?”  I really don’t understand how this stuff is even possible to make.  It’s so real looking, the logistics about shooting a project on this scale and magnitude seem impossible to my primitive brain.  While the visuals will keep your mind stimulated, for me, the real reason to see this film is for voice-actor, Peter Cullen, who voices super robot, Optimus Prime. 

Cullen has never been better.  Now, you may only know him as the voice of Prime, but he also moonlights as everyone’s favorite depressed donkey, Eeyore, from the Winnie the Pooh franchise.  And, cue the proverbial, “Aaahhhh.”  Prime is the only character in this franchise, whose words continue to hold any weight or brevity.  I almost feel embarrassed to admit this, but I actually care about Optimus Prime.  Shame on you Cullen, shame on you for making me care about a giant fictional robot.   In a movie era void of 80’s alpha males, Cullen’s Prime is a more than acceptable replacement, which just goes to prove we don’t need steroid infused heroes like Stallone or Schwarzenegger, but just one made of brawny metal.

In closing, the third installment of Bay’s robot epic is a return to what we loved about the first film.  It is a great “popcorn flick”.  Sure, its run time is a little long at two and a half hours.  And yes, if they cut down the slo-mo shots by about half we would end up with a more reasonable runtime at about two hours.  But, DOTM is just what we needed to carry us through the summer.  Aside from Thor, this is the second summer popcorn flick I’ve seen that deserves to be called a “summer popcorn flick”.  3 ¼ stars out of 5 (the extra “¼” is for Cullen’s performance).

"Super 8" Review

The theatre is packed wall to wall.  The smell of popcorn, and the sound of my feet sticking to the floor from years of spilt cola and candy fills my senses.  The silhouettes of the audience are all I can see in the theatre as the lights of the Vista theatre fade and the projector fires up.   Nostalgia sets in as the coming attractions and the classic 70’s “lobby snacks” promo I have come to love dance across the screen.  Suddenly, the “Amblin Entertainment” logo “fades-in” on screen, and I’m twelve years old all over again, while the audience settles as the nostalgic feeling of J.J. Abrams “Super 8” brings their inner-child out.

In a summer inundated with super-hero films, sequels, prequels, transforming robots, and more pirates, “Super 8” is the movie that gives hope that “Hollywood” hasn’t totally forgotten that “story” still matters. 

Set in the late 60’s, “Super 8” follows the story of Joe Lamb and his group of friends as they set out to use their summer freedom to make the perfect zombie movie.  Joe and Company, led by Charles (Joe’s best friend and director of their film) goes to great lengths to capture their story on classic 8mm film.  In an attempt to add more “production value” to their story, the gang sneaks out past curfew and films on location at a train station on the outskirts of town.  And this is where the film really takes off.  While filming their scene the most spectacular train crash and one of the most amazing action pieces I’ve ever seen put to film unfolds; unleashing an unknown monster upon the small town of Lillian, and introduces us to the second half of this story.  As the group and our Monster’s path begin to intertwine, the story thickens.  The U.S. air force, led by Colonel Nelec (played by another proverbial “that guy”, Noah Emmerich), are hot on Joe’s trail in hunting down their lost property, and silencing anyone that gets in their way.  Meanwhile, Joe’s father, the town’s curious deputy, must balance his paternal instincts with his ability to cope with the unexplained events taking place in Lillian.

Like Joe’s father, curiosity and intrigue have captured my imagination, and I’m glued to every frame of this instant classic.  Each scene is perfectly captured.  Joe and his band of misfits symbolize all my lost innocence and remind me of all the classic films I grew up loving: “E.T.”, “Jaws”, “Star Wars”, and “Indiana Jones”.  They all share this bit of magic, a bit of the “unexplained”, but that’s why it works so well.  When we are introduced to the creature, there is no attempt to over deliver on the promise of the creature or try to explain the reasons behind it’s motivations; it just is.  The intense scenes of the creature are juxtaposed with Joe and friends’ continued pursuit of their summer movie.  The contrast between the two storylines works brilliantly to balance the intensity of the monster and humor and charm of the adolescence. 

The performances Abrams gets out of his young stars is on par with “Stand By Me”.  There are some real talents born on screen here, the likes of which we have not seen since River Phoenix.  All of the ancillary characters bring a real sense of urgency and intrigue to the screen.  Another refreshing aspect of the cast is there are no big names; no ego’s to over power the other characters on screen.  It’s just pure character actors doing what they do best.

Abrams’ “Spielbergian” direction and camera movement contribute to the feel of an 80’s genre film.  Combine with his ability to keep the audience in suspense; one feels as if Abrams has somehow filled this void we’ve all been missing in movies for fifteen years; one that Spielberg, Reiner, and Zemekis once filled in our hearts.  We would only be so lucky if there were more filmmakers willing to make such original stories.

“Super 8” touches on every aspect of what makes a movie great: budding romance, humor, mystery, action, and great visuals that culminate into this rare popcorn flick that we get maybe every four summers.  It’s not trying to win Oscars, or bombard us with exposition to explain the unexplainable.  It’s purely focused on classic story motifs and entertainment.  Run, don’t walk to the theatre to see this gem, it may be the only great choice you make at the box office all summer.  4.5 out of 5.

"Transcendent Man" Review

I first heard of this documentary from a friend and recently had a chance to catch up with it on Netflix.  This is one of the most fascinating docs I’ve seen in quite some time.  The subject matter alone is enough for anyone to take a look at this one.  “Transcendent Man” is the true story of designer, inventor, and genius, Ray Kurtzweil.  Kurtzweil was a child prodigy in the science world at age 15.  At 15 he had already designed a computer that could not only mimic, but also create original piano pieces.  It isn’t enough that Ray accomplished this feat at 15, but he did it in the 60’s.  THE 60's!  I mean this is the dawn of the first computers, you know the ones that took up entire rooms, sometimes entire floors of technology buildings.

I have to say I was hooked.  Ray went on to greatness starting several companies, selling them, and becoming a millionaire several times over.  There is a good chance you have probably used one of Ray's inventions and didn’t even know it.  Ever used a scanner?  Well, you can thank Ray for that one.  But this doc is so much more than a profile of Ray's genius.  This movie embarks on exploring some really tough questions.  It is more or less about the increasing rate at which technology spreads and increases exponentially over time.  In other words remember that Iphone 4 you just bought, well it will be obsolete in five months, just like the many other technologies we depend on and surround ourselves with.  

Ray's obsession with this idea leads us to an even larger idea that he predicts is within our reach.  The idea of the "singularity", or a point in which humans and technology will be one, where technology has expanded and improved upon itself so many times that "we", as humans, are no longer making the decisions, but rather having decisions made for us by the machines we created.  At least I think this is what it is about.  The idea is fascinating, but I’ll be honest a little over my head.  It’s like trying to wrap you mind around the idea of infinity or a black hole.  It’s so much larger than your self that it’s hard to get a grasp on it.  On the surface this documentary explores the idea in question, but under the surface the movie’s real focus is how this idea, along with Kurtzweil’s inability to cope with his own mortality, stems from the death of his father. 

This is where the doc really grabbed me.  It was fascinating to see how Ray became consumed with saving himself, and how his father’s death was the driving force behind his own aspirations.  Kurtzweil, like many geniuses, borders on the insane.  He believes in his own theories so blindly, that no person can convince him otherwise.  The opinions and ideas of others fall by the wayside as he continues his pursuit of “immortality”.  Even at the film’s climax, at which Kurtzweil experiences a coronary bypass, Ray’s beliefs are hardly shaken into reality.  In a lot of ways it’s like watching a train wreck where everyone on the train thinks they’re going to survive. 

The doc is fascinating, engrossing, and very well made.  It is a great character study, and for a “sci-fi head” like myself a truly great experience.  That’s why I’m giving the “Transcendent Man” a 4 out of 5.

"X-Men First Class" Review

WARNING SOME SPOILERS!!!!!!!!!

It’s been five years since we’ve visited Charles and his school of gifted youngsters.  And, let’s be honest, after 2006’s “X-Men: The Last Stand” we needed a break.  Brian Singer and his team did an incredible job building a successful franchise, and topping their first x-men film with “X2”, the perfect sequel.  It took Ratner only one stab at his “X” film to tear down what Singer built upon.  Now, Mathew Vaughn, with the help of Singer, is trying his hand at the “X” franchise with “X-Men: First Class”. 

I’m not going to lie, I had high expectations for this film.  It even managed to make my top 5 most anticipated films of summer 2011 in the number two slot.  Also, I’m quite fond of Vaughn’s previous work, in particular “Layer Cake”, and rather enjoyed “Kick Ass” despite its plot holes.  Not to mention the fact that “First Class” has two of young Hollywood’s finest actors, Michael Fassbinder and James McAvoy, headlining this band of misfits.  On paper this film is a winning formula, Solid director + great talent + great mythology = good movie.  However, I might be alone on this one, but it just didn’t quite deliver on the promise of the premise.  Don’t get me wrong, this is a decent effort, but one of the major problems of a prequel is that it must follow and flow into an established mythology.  And, “First Class” attempts to do this, but it just seemed hurried to me.  It’s unfortunate, because you don’t want to leave a bunch of loose ends untidy, but it seems with a movie like this you’re damned if you do and damned if you don’t.

One half of the story is really quite good.  The story focuses mostly on Erik Lenscher, aka Magneto’s, origin for the first act of the film.  We start off where the first X-men film did, with Magneto as a boy in a Nazi Concentration camp.  Soon we are introduced to Kevin Bacon, who dons an astonishingly good German accent, as a mutant named Sebastian Shaw.  Shaw, like Magneto, is dead set on a war between humans and the growing mutant population.  Sebastian is also responsible for the death of Lenscher’s family and ultimately creating the mutant we later call Magneto.   And, this is where the film gets interesting.  In a lot of ways “First Class” is this epic revenge tale following Magneto as he tracks down the man responsible for birthing all this rage and hate he carries inside him.  Fassbinder is truly excellent in this role; his emotions are raw and tangible on screen.  He does an amazing job of making the audience sympathize with his character, so much that we forget the evil that he will eventually bring down upon the human race.  Magneto’s character and story arc were so engrossing, I would have much-preferred two hours delving into his character than what we ended up with.  Unfortunately, the other characters in this film are far less interesting.  Although McAvoy is excellent as Xavier, he just doesn’t have the storied background to get me engaged in his character.  Charles seems to be a silver spooned prodigy, having everything handed to him, including his unique gifts.  The other characters in the film suffer from a lack of screen time as well.  Now this is a common problem when you have a large cast of characters, it’s hard to determine whom the audience will identify more with, and who should just fall by the wayside.  Mystique, played by Jenifer Lawrence, is fascinating, but feels overshadowed by her more interesting co-stars.  And, it’s not that she does a poor job, in fact I found her performance solid, it’s just that McAvoy and Fassbinder are simply that good. 

I think my biggest problem with “First Class” goes back to my issue that the story felt hurried.  That there wasn’t a lot of time to show these intricate relationships develop.  I just didn’t “buy” this friendship between the two opposing viewpoints.  This problem continues throughout the film.  The characters only seem to have known each other for the briefest of periods, but change “sides” and their minds so quickly that it just seemed forced.  Characters that are enemies for the entire film, then suddenly play nice together, as if united by their common interests, but just seconds before were willing to tear each other apart.  It’s simply just too convenient.  It’s as if the producers said, “Well we can’t have that, because in the other x-men film these two are supposed to be enemies, better think of some poor filmic device to cover out tracks.”

On another note the action pieces are decent, and they seem to have real consequences.  You do get a sense that while these people obtain extraordinary gifts; they still bleed like you and me.

Overall I think “First Class” was one of the better films I’ve seen this summer, but there really isn’t much competition out there.  I have a feeling that the public wants to see a good movie so badly, that an average one is a welcome relief.  My theory is, much like when “Source Code” hit theatres, there just wasn’t anything else out there that could compete.  “First Class” suffers from the same fate, there isn’t whole lot out there to give it a run for its money, so it stands as the best “Hollywood” film in theatres.  So without further delay I’m giving “X-Men: First Class” a 3 out of 5 atoms.

"Tree of Life" Review

I’m not really sure where to begin this review.  I’m still trying to soak up everything.  Piecing together the different astronomical events make compose “Tree of Life” is daunting in itself.  If you are familiar with Malick’s work then you should have some grasp of how this movie is going to be edited together, but I assure you, all of your revisiting of “The New World”, “The Thin Red Line”, or even “Badlands” can’t prepare you for this film.  This is by far Malick’s most ambitious work to date.  His unique blend of nature, story, and character is pushed to the extreme in this almost Kubrikian tale of a post WWII Texas family. 

The film explains that there are two ways in which to live you life, through “Grace” or “Nature”.  I’m not going to pretend I really know what this means.  I’m not sure which “way” we are even witnessing.  TOL poses a lot of tough questions for its audience:  Why are we here?  Where did we come from? , and perhaps, Where are we going?  However, I don’t think it answers any of them, but that’s a good thing. Instead TOL asks us to reflect on these ideas.  It would be pretty self-indulgent if Malick did in fact answer any one of these questions.  This movie, at least for me, does make me reflect on my own up brining and, more so my own Father’s.  It puts a typical 1950’s family on display and their attempt to co-existence.  These scenes of the 50’s family archetype juxtaposed against stunning visuals of the universe, creation, life evolving, the big bang, the earth coming into form; all of it seeming to lead us to think is this the proper way in which we too should have evolved?  But, is this the right path?  There are so many beautiful moments in this film.  Emanuel Lubezki, the cinematographer, is a true master of his craft.  Every frame is perfect.  And, It’s this perfection at times that makes it so hard to watch.  Watching these perfect images of this family deteriorate is difficult to stomach because it is simply so beautiful to watch.  It is quite an esoteric journey.  I’m very much on the fence on this one.  I think it’s a film you have to experience for yourself in order to reach your own conclusion.  I hate to be like humpty dumpty, but that’s the only advice I can give on this particular film.

I feel that while I’m writing this review, I’m trying to process so much of what I have seen that it is difficult to even make a coherent critique of this film.  So I’ll digress and talk about the performances.

Brad Pitt is really quite good as over-bearing father, Mr. Obrien.  He is strict and unflinching as he instills his will upon the other members of the family be it through his words or physical actions.  As I sat and watched him enforce his rule on the innocence on screen, I couldn’t help but be taken over with fear myself, but thankful that he wasn’t my father.  Jessica Chastain is also very good, as the selfless mother, trying to keep the balance between her role as mother and dutiful wife.  The regret and fear she constantly feels is captured well in her reactions and facial expressions.  I think my favorite performance was Hunter McCracken, who played young Jack.  Hunter does an amazing job conveying his fear and hatred toward his father.  The tension Jack feels in his father’s presence is tangible.  This young actor gave a truly remarkable performance, and after Hollywood gets wind of this performance I’m sure we will see young Hunter more in the future.

Again if you agree or disagree with my opinion consider posting a response.

Top 5 Character actors of all Time

Let me just say this was a very tough list to piece together.  There are so many talented and truly great character actors to choose from, how do you narrow it down to just five?  It’s like choosing your favorite bite of ice cream, there all so good!  Another inherent problem with this list is determining, who qualifies as a “character” actor and isn’t just a star in their own right.  Example, Brendon Gleeson is a great character actor, but is almost too notable to be considered.   I like to think of a character actor as one, whose face you recognize, but can’t put a name to it.  You know the type I mean.  Chances are you have probably uttered these words at the silver screen or at a coffee shop with friends: “Oh it’s that guy, I love that guy” or “You know the one I mean, he’s in all those Cohen brothers films”.  These actors are true masters of their craft and selfless.  Performing to the same degree if not better than the major stars with which they share the screen.  They often make the scene memorable or propel their co-stars to perform to the best of their ability.  And so, with that I give you my top five selfless actors starting at number five and working down to my number one.

(CLICK ON THE LINKS TO VIEW PHOTOS OF THE ACTORS)

5.) My number five has been in such greats as Braveheart, Sin City, Gladiator, Smokin Aces, The Game, Ratcacther, and has worked with some of the finest director’s in the industry.  If you said Brendon Gleeson, you’d be wrong, it’s Scottish born actor, Tommy Flanagan.  Flanagan’s unique facial scars and on screen talents have made him an unforgettable actor, that has always brought his “A” game to the screen.  Whether he’s playing a random henchman, a loyal servant to a general turned slave, or battling the English alongside William Wallace, Flannigan never disappoints.  And, that’s why he’s my number five.

4.) My number four is equally as notable as my number one.  He has put his stamp on not just the silver screen, but the small screen as well.  He got his start on the day time soap “As the World Turns” and continues to light up prime time with a recurring role in the smash hit “Prison Break”.  He’s been in my favorite heist film, “HEAT”, earning him great admiration from director Chris Nolan, and a small part in his 2008 masterpiece, “The Dark Knight”.  Of course I’m speaking of William Fichtner.  Let’s run down a few of Mr. Fichtner’s notable films: Crash, The Dark Knight, Heat, Go, The Longest Yard, Malcolm X, Black Hawk Down, Armageddon, Contact, and the list goes on.  One of my favorite performances was his portrayal of an undercover cop in “Go”.  Comedic timing, awkward comments, and twitchy nature made him the most memorable character in the film.  William’s career spans several decades, and his body of work is no doubt impressive.  Because of his longevity and ability to enhance the performances of the actors on screen with him, William has earned my number four spot and the proverbial, “That Guy” award. 

3.) I was first introduced to my number three actor in one of the greatest science fiction films of all time, where he played, Parker, one of the Nostromo’s expendable crew, in Ridley Scott’s, “Alien”.  Later he played disgruntled factory worker, Smokey James, in the brilliant sleeper hit “Blue Collar” written and directed by “Taxi driver” scribe, Paul Schrader.  He then went on to star with Robert Redford in “Brubaker” and even managed to share the screen with the governator himself, Arnold Swartzeneger in the cheesy action flick, “Running Man”.  Yes, Yaphet Kotto has run the gauntlet (pun intended) and brought us some of the most memorable moments in cinema history.  For those of you, who have not seen “Blue Collar” I highly, recommend you put it on your queue.  It’s a hard one to find on DVD these days, but well worth your time.  Kotto’s presence on screen is strong and tangible.  He brings a sense of realism to any of the characters he plays, whether he’s trapped on an alien craft, or trapped in the social class of “middle America”.  That’s why Yaphet Kotto breaks in to the number three spot on my list.

2.)  I’m just going to come out and say it.  My number two is Peter Stormore.  Now, I know what you are asking.  “Who in the hell is Peter Stormore?”  All I have to do to jolt your memory into working order, is describe what I believe could be one of the most memorable moments in film history.  And yes, I realize I have said this before, but let me set this up for you.  It’s a blistery cold day in northern Wisconsin.  You’re tired, pregnant, and have your gun in your hand.  You hear a strange motor sound emanating from the rear of the house you are investigating.  You peak around the side into the backyard only to run into Peter Stormore feeding his partner in crime, Steve Buscemi, into a wood chipper.  This scene, of course, is the finally to one of Joel and Ethan Cohen’s many masterpieces, “Fargo”.  After “Fargo” Peter was on my radar, a unique look, a strange array of characters, and an ability to appear in endless Cohen bros. films.  He played Uli, a German nihilist in “The Big L”, the devil, Lucifer himself, in “Constantine”, a small bit part in Spielberg’s “The Lost World”, a derange surgeon in another one of my favorite sci-fi films, “Minority Report”, and possible his best role as, Slippery Pete, in an unforgettable episode of “Seinfeld” where he attempted to battery power a “Frogger” arcade game in order to save Geoge Costanza’s only amazing feet of his life, the coveted high score slot.  For that alone Pete you made my number two.

1.) Although my number one has only been in five feature films, each is a masterpiece, and his performances are superb in all of them.  What is that old adage?  “There are no small parts, only small actors”.  Well my number one is the essence of that statement.  Every one of his choices was carefully considered, every motivation examined, even the little idiosyncrasies of his characters were carefully thought out.  His five features include: “The Godfather”, “The Godfather: Part II”, “Deerhunter”, “Dog Day Afternoon”, and Coppola’s, “The Conversation”.  I of course am referring to everyone’s neurotic older brother, Sonny, played by late great, John Cazele.  Cazele is one of the greats.  If you ask anyone of the actor’s that has had the pleasure of sharing the screen with him, they will have nothing to say but praise.  Cazele has played some of the most memorable and important characters in film history.  His wirery and sometimes haggard mustache along with that shrill nasally voice are all part of his odd appeal.  His unique appearance combined with his incredible talents forced his co-stars to elevate their own abilities, because if they hadn’t his presence on screen would over shadow them.  Cazele is one of the rare character actors, which if he had not passed so early in his career there’s no telling how many shiny gold statues he would have brought home.  And, for these reasons are why John Cazele is my number one character actor of all time.

And, there you have it my top five character actors of all time.  Now don’t get me wrong there are many others that could have and probably should have made my list.  Here are some of my honorable mentions that didn’t quite make the cut:  J.K Simmons, Michael Rooker, J.T. Walsh, Frank Whaley, Bob Gunton, and Clancy Brown.  Below are photos of all the actors who made my list.  You can find out more about all of them on IMDB.com.  Finally, if you agree or disagree with my opinion consider writing a response below.  I look forward to hearing from you.