bernardovillela

Review- Hanna

Posted on April 18, 2011 by bernardovillela

Saoirse Ronan in Hanna (Focus Features)

It’s really easy to love a film like Hanna. It takes a tale wherein the plot upon final examination is not all that complicated but it is rendered perhaps in the most interesting fashion that can be thought of. While it may not be the most original tale ever told it still bubbles over with freshness and enthusiasm for its subject matter that makes things seem quite new indeed even though they may not be.

It’s a film that also sneakily incorporates foreign languages and many locales within the narrative but due to this being an action film those averse to reading subtitles may be quickly won over and not cringe during these sparsely scattered scenes. The locales also vary but a journey geographically can be a great way to mirror a character’s journey to understanding about themselves and that’s what’s at the crux of the matter here: understanding. Whether it be for the audience or the protagonist we both start with the basics that we need to be allowed to function and move on from there picking up pieces along the way.

New information always clarifies and adds meaning to the tale as well as raising the stakes such that it’s all very expertly done. Yet we as the audience also are taken on a wonderful journey as we not only seek to find Hanna’s place in this international intrigue but also the motives of one Marissa who is seeking to hunt her down.

The film often balances wonderful action sequences and taut dramatic scenes that have an air of mystery about them as well. It paints it characters interestingly but not blatantly. Marissa being an example, her duplicity is underscored by her ever modulating accent. Yet Isaacs is another illustration. In very short order we see him as flamboyant club owner, then informant and then assassin. This kind of building of character alongside the building of the plot is great and rare to find. Add to that a final destination that Hanna must reach and you have yourself a surefire recipe for a great flick.

Hanna features a much-hyped, and discussed score by The Chemical Brothers. Now ultimately I must say I was won over by this score for two reasons: first, director Joe Wright spotted the film beautifully in terms of where he wanted score and where he didn’t. The opening of the film was quite quiet and there was a wonderful intimacy to it all. Then I did like the music itself is very good, worlds better than was Trent Reznor and Atticus Ross just got an Oscar for, it really puts the pedal to the metal when it has to and gives an offbeat vibe to this film. It does, however, for one section get too intrusive. Now in my A.I. paper I discussed intrusiveness of score. All are to some extent but there is a line I feel it crossed in her escape where it combined with the lighting and editing just made it too much of a music video feel.

Keeping these nitpicks in perspective, however, I’d always rather see a films whose negative qualities come from it trying to hard rather than it not trying hard enough. And that’s what this film did on two occasions. The second such was a scene where Hanna has just arrived at a room in Morocco and having been sheltered she is overwhelmed by the modern conveniences and their noise and fury and the sequences is overwrought and over-edited. It makes its point but perhaps too emphatically.

Ultimately, it must be said that this movie may be standing tall by the end of the year and these little nitpicks may knock it down a peg or two but it is still a great work. The acting in this film is tremendous and not simply for the fact that nearly everyone had dialogue in a language that is not their own. Many if not all the characters had moments that are memorable. Not failing to mention, of course, a screenplay which gives all these characters chances to have their moments but still telling a good and tight story.

There are rarely action films that both get your adrenaline pumping but also allow and, in fact, require your brain to remain functioning and not take that time off and this is one of those films. It’s as smart and well-told as it is exciting.

9/10

Review- Soul Surfer

Posted on April 18, 2011 by bernardovillela

AnnaSophia Robb in Soul Surfer (Tristar Pictures)

Soul Surfer is an interesting film that may not yet have found its audience yet for a number of reasons but if I were a betting man, and there were bets on such things, I might be inclined to back this film as one that would find an audience through video over the years to come. It’s kind of a weird property looking at it from afar: a surfing film, which is also a biopic with a religious element to it being released in April. It’s essentially a summer film that didn’t want get buried amidst blockbusters and is trying to make some waves (yes, I can be punny, sue me) in a rather tranquil time.

None of the above is meant to sound like an indictment of the film. The fact of the matter is I truly enjoyed how multi-faceted I found the film to be. When you try and tackle too much in a film it can turn into a mess but when you can connect on disparate elements and tie them together then you’ve got something really good on your hands.

Looking at it from each perspective let’s see how the film works: firstly, there’s the surfing element under the larger umbrella of sports film. As has been said frequently, the best sports films aren’t really about the game, thus, they can hit home with the largest possible audience. However, it must be said that this movie is a sneaky good sports film. Due to the different things the film is trying to accomplish there isn’t a tremendous amount of time dedicated to the varying facets of a sports film but they get it spot on with the most important one: this film communicates in spades the love of the game and it’s mostly through cinematography, sound editing and a really well-written opening voice over, which stands head-and-shoulders above the voice over opening from the Best Picture nominee The Blind Side.

There’s also a sports rivalry, which as a subplot can either add depth or become an encumbrance on the narrative, it does the former and never gets in the way too much. As does the very chaste and timid love interest, just a little more humanity without over-complicating things. The ultimate example of its excelling in its sport movie mold is that it emphasizes, in the end, the joy of competing over that of victory better than most.

The personal journey works as well to fit the biopic mold. The stasis is well-established and then shattered and a new reality must be dealt with. There is also a very brief and practically perfect amount of time spent in the woe-is-me phase of her story. You also get a refreshingly good self-improvement montage and wonderful, if foreseeable, epiphany.

With regards to the religious aspect of the film it’s there, it’s a motivating factor in her recovery, it’s something Bethany questions and leans on. The film handles this very well not only in keeping it and making it a more true biography but adding some depth to the character and avoiding getting overly preachy and pedantic. Some films it seems can’t deal with any type of spirituality in it without it becoming a spiritual film. It’s an element that folds in very well.

If there’s anything that can be said against the narrative it’s just that there is a certain amount of evenness to it. The three facets while working well together allow you to stay on a rather even keel until the final competition. Yet it’s still a fun film to watch regardless of your investment level.

There is also some very impressive CG work done with the missing limb, it’s the best kind of CG work because it’s functional and doesn’t become the film. The sequence of the accident is also rather stunning and one of a few very well-handled and dramatically-rendered sequences in the film.

Much of the cast in this film does very well and the performances run rather deep down the line. You get three very strong performances just out of the family. AnnaSophia Robb has been mostly unseen since Race to Witch Mountain and before that Bridge to Terabithia but she shows here a rather seamless and graceful transformation to an adult role, and a leading one at that. It’s also wonderful to see Helen Hunt and Dennis Quaid not just working but doing great and in a quality project. They each have their own moments to shine here. Ross Thomas and Chris Brochu play the usually jovial, supportive brothers but do have their dramatic moments. Kevin Sorbo also plays a refreshingly low-key and sympathetic character here and Jeremy Sumpter has a small part but plays one big scene wherein he shows flashes of greatness and how he is one of the most under-utilized young actors in films today.

Soul Surfer is a very enjoyable film that you should try to see on the big screen before it’s theatrical run ends.

8/10

Review- Hop

Posted on April 18, 2011 by bernardovillela

Hop (Universal)

Hop is a funny and entertaining enough film that tries to assert itself as the go-to movie for the Easter holiday and for lack of any real competition, at least for the moment, it just may get to be that. In the end though I wish that considering the likelihood they’d take that mantle by default they tried a little harder to create more of their own inventions. Many of the affectations of the story are merely transposed from Christmas traditions and modified to fit Easter motifs. There certainly were other twists like chicks working in the factory and being underlings such that an egg sleigh with chicks flying it rings kind of hollow.

While it is an enjoyable journey and the ending is ultimately satisfying there’s also a bit of a cop out on the frame. If you think about it the film has to have the resolution it does but it just begs the question why create the frame in the first place? Why not just save that information and have it come as a surprise? It’s a case where simpler would work better.

What does work in this film is firstly the overall plot conceived by Carlos (Hank Azaria) a chick in the factory to try and usurp power. It works both dramatically and comedically thanks to Hank Azaria who is one of the best voice over actors currently working, due in large part to the fact that you don’t automatically know it’s Azaria voicing a role when you hear it.

Truth be told the same must be said for Russell Brand’s portrayal of E.B. I’d seen the preview probably a trabillion times and hadn’t figured out it was him. Thankfully, Brand allows the situations to create the comedy and just plays the character and is rather straight about it much of the time as well so it ends up being a choice that works.

In terms of the live action performances James Marsden turns in good portrayal of an unfortunately named character (Fred O’Hare). This name made even more frustrating by the fact that some of the family scenes were the better jokes and ideas are in the film. Many of these scenes were stolen by Gary Cole, who is hilarious as always.

What really stands out in the film is the animation work, more so on E.B than on the Pink Berets but particularly the combination of it and live action elements which there hasn’t really been too much of. It’s not necessarily a quantum leap in the subgenre but it’s definitely a most pleasant progression.

Hop is an enjoyable and passable way to kill some time even for an adult like me, which is not that much different than a kid, though kids may like it quite a bit more than I did.

6/10

Once Upon a Time in the 80s: Sociopolitical Overview (Part 2 of 17)

Posted on April 15, 2011 by bernardovillela

Photo Credit: Peter Turnley/Corbis, The epitome of hope in the 80s: The fall of the Berlin Wall

When we think of the 90s sociopolitically you can almost draw a parallel to the kind of films that were produced. With Clinton in office the stock market more than doubled it was prosperity galore and yet there was a generation (Generation X followed by Y, how original) that could care less. There were hardly any films that reflected the times we were in because that would be bourgeois, no one really cared they had money in their pocket. Yet there was also nothing to escape unless you count the laughable Lewinsky affair, so film stagnated aside from the occasional blip here and there.

While the 80s were not like the 60s in that there was an issue constantly looming over everyone like the Vietnam War. There were several crucial events in America’s history. Films are the products of our society and the people writing those films for the most part came of age in the 60s and thus, had a higher social consciousness than those who grew up in the culturally devoid 70s.

Being children of the 60s coupled with the fact that escapist family-oriented cinema was in demand for a great part of the decade lead to many of these films having a lot of pie-in-the-sky idealism in them.
The 80s socially and politically were a mess. There was always something. New York was a crime-ridden dirty hole, which is reflected in Ghostbusters, and to some extent Trading Places. At the beginning of the decade there was the hostage crisis and the decade ended with the beginning of the communist collapse. While there were many crises and negative events there was a national sentiment in the nation and a presentiment that gave people a feeling that we could change things, amid all the excesses of the ‘me generation’ there was Hands Across America, Farm Aid and Artists for Africa which were movements by musicians that we could change the world and films like Amazing Grace and Chuck reflect that sentiment.

It was undoubtedly a turbulent time but there was a wind of change in the air. Reagan’s short-sightedness in his term is paralleled by the studio heads. Reagan wanted to give the taxpayers a break immediately and it hurt in the long run while the studios wanted money immediately and slowly the quality of films they were producing would dwindle. Thankfully, the quality did keep coming out until the end of the decade. The political conditions were all aligned for good, even great films to be made. Great films never come out in abundance when the nation is affluent. Pre-packaged hit-me films do, the 80s were a great time to grow up in because you probably weren’t aware of all that was going on around you. Yet I do recall seeing the possibility for change and seeing that something good can occur in this world and I saw it plastered across a large silver screen every weekend.

Note: This is a recapitulation of a paper I wrote in film school. It will be published here in installments. This is part two you can read part one here.

Review- Source Code

Posted on April 12, 2011 by bernardovillela

Jake Gyllenhaal and Michelle Monaghan in Source Code (Summit Entertainment)

It’s not the easiest thing in the world to assess my feelings about Source Code and most of the reason why is that a lot of those feelings lie most definitely in an ambivalent place. There is surely plenty to like about it and some things to dislike and they are usually on very different ends of the spectrum such that the overall opinion lies somewhere in the middle with the elements of disparate quality pulling at you trying to make you lean one way or another. The bottom line is that this is a good film but there are a few concerns that keep it from getting any better than it is.

What deserves to be complimented first and foremost is the cast of the film. In particular the three main players: Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga. The first of which is the most pleasant surprise of the film. Gyllenhaal, in my estimation, had been a member of a group of young leads around his age who in mind were/are infinitely vanilla. Not great, and not terrible but also not bringing anything to the table. There aren’t too many dynamic young actors that bring something new to the table every time out but here he breaks free from those shackles and really shows a lot, which is made even more impressive based on observations I will make later.

Michelle Monaghan, who I had previously became familiar with through, and honored her for, Trucker, is absolutely perfect in this part. When an actress is given the confine of having to play a character that you could fall in love with over and over again and you only have eight minutes in which to do it in, that’s a formidable task and she accomplishes it easily.

Last but not least is Vera Farmiga, who manages to pull out a very good performance despite the fact that her scenes and dialogue are often redundant, which speaks a little to the screenwriting issues found herein. She all too frequently has to battle Colter (Gyllenhaal) and tell him his questions are irrelevant. She needs to have a very thin facade which breaks down over several conversations, in certain regards she has a bigger hill to climb than Monaghan. However, she’s not even afforded the same flexibility of scenario that Monaghan gets.

One of the other major issues of the film is the handling of the Sci-Fi element itself. Science Fiction seems to break off into two distinct groups there is an assumptive brand wherein futuristic or improbable things are occurring naturally and unquestioned, like in Inception for example where the dream-sharing and serums are given or the didactic wherein in a simulacrum of the world we inhabit in the present day is shown to us and a curtain is pulled back to reveal a secret that is explained to the audience. This film chooses the latter path, which in my mind requires a bit more explanation.

This film waits to grant us answers, which is fine because it allows us to identify easily with the protagonist but when we learn about the Source Code program, what it is and how it functions there are still questions that come to mind.

The idea is original and intriguing but it leaves you wanting for a bit too much which in this case is a double-edged sword. Similarly there’s the Maguffin. Now, it’s not necessary that you know its a Maguffin going in, however, I got a little ahead of this film in this regard. Once you realize finding the bomber is not the point of the story it takes too long for the narrative to catch up and after so many episodes it becomes a slightly tiresome exercise. It’s as if the film gets foisted by its own petard because the sequences are too frequent and short to keep the suspense of the whodunit alive.

A good Maguffin is one that is enthralling though perhaps never resolved. The best example is in Psycho. I care about Marion Crane’s early decisions: Stay or go? Take the money or not? I’m also rapt by her trying to elude the authorities. In the end it doesn’t really matter but it’s riveting. Here it gets tired and you’re left waiting for the bigger story to take over.

This is all said to illustrate that this is a good film that could’ve been made much better. With how the film ends, in terms of narrative not handling, it is most definitely a good film. It is just one that mishandled a few key elements that would’ve made it great.

I do have an appreciation of what was accomplished and intended I just wish it could’ve been greater and that was within reach.

7/10

Review- The Chronicles of Narnia: The Voyage of the Dawn Treader

Posted on April 8, 2011 by bernardovillela

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)

Will Poulter, Skandar Keynes, Ben Barnes and Georgie Henley in The Chronicles of Narnia: The Voyage of the Dawn Treader (20th Century Fox)

The Chronicles of Narnia: The Voyage of the Dawn Treader is in a word, though there could be many, many more; glorious. Absolutely glorious in every single, solitary respect. Not only does it work brilliantly as a standalone tale but it also closes a chapter in a series with great effect. How it functions within the series will be detailed later.

The first thing that should be commented upon is the virtuosity of the players involved. Now this tale does have a rather big obstacle to overcome as in this tale the Pevensie quartet becomes a duo, as Peter (William Moseley) and Susan (Anna Popplewell) are scarcely seen but worry not Georgie Henley and Skandar Keynes are very strong and prodigious leads in the film. They each face their own trials and tribulations in their journey and support the film equally. Will Poulter, who broke out with his earth-shatterlingly good performance in Son of Rambow, is flawless in the part of Eustace Scrubb. He applies the affectations of an uptight, snobbish brat with great aplomb from a pitchy voice to flared nostrils and as his character mellows those layers peel back. Truly, Son of Rambow was most fortunate to have both he and the incomparable Bill Milner in the fold and The Dawn Treader would be so much less than it is without Poulter.

Lastly, and here is where we discuss this film in the context of the series, there is Ben Barnes. Ben Barnes, as Caspian, who is now a King; reprises his role but not identically to the last installment. In Prince Caspian a decision was made that the Talmarines, to differentiate themselves as men of a different nation, should be Spanish or speaking in a brogue thereof. Barnes did what he could to work with this impediment but that decision along with some in structuring made that installment a little less than it could’ve been. Therefore kudos are in store for the production team, principally the late great director Michael Apted, for deciding to rescind said decision. Ben Barnes speaking in his true voice is another actor entirely and he is a credit to this film.

This film, unlike many fantastic voyages, actually allows you to get into the character’s head a bit. In fact, that’s really what the enemy is all about: exploiting fears that each of the characters have. The characters are seen alone, the characters dream and they do battle with an enemy that knows how to defeat them. Mist or fog can be a very effective cinematic motif, as evidenced by eponymous films but you add a sentient nature to said mist and a whole other level is reached. Especially with the way it is framed and how the characters very infrequently sense its presence. I wrote recently of the jolting scares to be found in the most recent Harry Potter, well that is trumped by the ominous looming and chasing of the mist in this tale which gave me goosebumps on more than one occasion, as did some other events, CG or not.

Speaking of CG this may be an aspect of this film, which is almost taken for granted. To go through a laundry list of awe-inspiring visual achievements that the effects artists conjure up in this film would be tedious. However, it does need to be said that the work in this film is so accurate and precise that it likely goes overlooked by many. It has been short-listed for an Academy Award nomination and if it does not receive said nomination it will be one of the greatest injustices they’ve ever perpetuated [It didn’t get it, surprise, surprise].

This film is expertly edited and flows like a dream and treats time like a tinker toy. It makes the film move very briskly throughout but grinds the action nearly to a halt when things need observing in the minutest detail. If you had no notion of the time you’d swear the film is at least 20 minutes shorter than it really is, which is a testament to the pace of the tale.

You can’t have a sweeping epic story line without a sweeping epic score and this film most certainly has that as well, as there’s not much it doesn’t have. The score always matches but doesn’t overpower or over-accentuate the film and is dazzling.

The superlatives could continue to flow but I saw this film twice on the weekend so that should say something. I may see it anew to gauge the 3D quality, for the time being bear in mind that it is post-converted so buyer beware [I did end up seeing it in 3D later on and the conversion was pretty good] .

You have in this tale characters who are human therefore flawed and must struggle mightily against the darker parts of their nature to achieve their goal. You also have here in a series an ending as should the films continue different characters coming to the fore, even if this wasn’t the case the ending is quite the effective tear-jerker. This is without a doubt one of the most complete cinematic experiences I’ve had in a while, one of the best films of the year and a no questions asked must see.

10/10

The Chronicles of Narnia: The Voyage of the Dawn Treader is available on DVD and Blu-Ray today.

Review- Insidious

Posted on April 8, 2011 by bernardovillela

Patrick Wilson and Rose Byrne in Insidious (2011)

Patrick Wilson and Rose Byrne in Insidious (FilmDistrict)

I am one who is wary to make premature proclamations about where a film stands when relative to the rest of the year and I believe I will be able to stick to that when discussing Insidious, however, with much difficulty. The reason that is so is that after seeing Insidious the kinds of comparisons I started to make were within the horror genre and comparing it to my favorite film in the genre from last year, or the year before or even further back.

And when I say in the genre I mean purely so, for if there’s one thing you cannot mistake in this film is that the makers most definitely intended to make an ode to old school horror tales but what is most impressive is that while keeping in mind classical elements, motifs and tactics there is still a concerted and successful effort to put a new spin on things.

Anyone who is very familiar with the genre will at some point start to be reminded of several different films such as Poltergeist, Pet Sematary, The Shining, The Haunting, The Amityville Horror and others but it’s always a passing notion that comes from a place that’s much more “Oh, isn’t that neat?” as opposed to “Man, what a rip off this is.”

While all these allusions and homages do exist there are some very refreshing elements to the tale as well. First of all, many horror films, especially those which have an element of the supernatural within them, struggle with the notion of belief. There needs to be a certain level of disbelief amongst the characters, when dealing with the supernatural, so that we can then suspend disbelief. This, however, is a very delicate balancing act for the audience of a horror movie is very aware that they are there to see a horror film and are very ready to believe. There are no such concerns here. Insidious has one of the quickest, deftest and most naturalistic dismissals of disbelief I can recall seeing and it is crucial to the functioning of the film.

Perhaps what’s even more impressive is that it is a twist and a take off on the haunted house tale, and you know that, the tag line for the film is “It’s not the house that’s haunted.” Having said that, however, the film perfectly follows a haunted house structure.

The cinematography is great throughout and is particularly effective during the first seance scene which is perfectly choreographed chaos but perhaps the most effective section is when Josh (Patrick Wilson) travels to an alternate dimension referred to in the film as The Further. This alternate plane is created entirely through cinematography and the use of negative fill. It’s been quite a while since a film in the horror genre has so aptly exploited the most primal of human fears, which is that of the dark.

Furthermore the sound design of this film is absolutely fantastic. There are disembodied sounds throughout the soundtrack that are later identified and everything sounds like what is should and it becomes a very fun guessing game and also hauntingly effective. What’s paramount in importance is that the sound effects enhance the visuals and aid scares as opposed to becoming the scares. There are several jolts within this film, one of which sent a tidal wave of goosebumps down my body and the sound effect accompanying the visual was an afterthought. “Oh yeah, that sound effect was good too,” I thought but the visual already struck home in all these jolts.

How scary one ultimately finds it is always a very personal thing. I found it to actually to be quite scary. The testament to that was later that night after having seen it unexplained noises within my house caused a lot more distress than they normally do. What cannot be argued is that screenwriter Leigh Whannell and director James Wan have crafted one of the finest examples of the horror genre to have come along in a long, long time.

10/10

Review- Little Fockers

Posted on April 5, 2011 by bernardovillela

Robert DeNiro and Ben Stiller in Little Fockers (2010)

Robert DeNiro and Ben Stiller in Little Fockers (Paramount)

What is the saving grace of Little Fockers? It is that eventually the story ends up being more about Jack’s (Robert De Niro) psychotic persecution of Greg (Ben Stiller) than it does about the misunderstandings and unnecessary comeuppance that he got in the first installment of this series and set the tone for the characters.

The worse thing that a comedy can do is make you feel sorry for a character who has gotten himself in a difficult situation. That’s what the first film did in my estimation and what this installment narrowly avoids. How it manages to do that is by giving Greg just enough culpability such that we can comfortably chuckle at the mess he’s gotten himself into and not really sweat the outcome too much.

While it is rarely, if ever, highbrow humor Little Fockers does manage to be quite funny through most of it. However, it is never really about the aforementioned Fockers. There are two subplots about them: One is that Samantha (Daisy Tahan) isn’t speaking to Greg, which is resolved easily enough and another is that Greg and Pam want to enroll her and Henry (Colin Baiocchi) in a high-priced private school, however, that one never really resolves itself. Kevin (Owen Wilson) says he’ll talk to the head of the school and get them another interview after a little fiasco and that’s the end of that.

When Jack and Greg’s argument finally comes to a head and in the midst of the physical confrontation Greg is trying to explain himself, as he has put himself in the situation of making Jack think he is sleeping with Andi (Jessica Alba), a work associate, the apology/explanation is quickly accepted which is both somewhat of a relief and also a bit facile.

It does manage to be a funny film because of its cast but it is getting a little crowded even though everyone is talented they are starting to run up against All-Star Cast Syndrome, which is when there are too many recognizable actors that you want to see involved in the same project. For example, Barbara Streisand and Dustin Hoffman are both very funny but their time is fleeting; Laura Dern is also hysterical but she likely gets more time than they do. Jessica Alba is quite good, albeit this isn’t a very involved character and she gets more time than those just mentioned.

The laughs stay pretty consistent throughout with one glaring exception and that is the ending. Now most of this is due to the Set-Up Factor where it’s a very cloying and obvious set-up for yet another film. They might either take it or leave it I personally hope they leave it because it’s too obvious a set-up (hint: Everybody Loves Raymond meets Meet the Fockers).

Despite all these peccadilloes sticking in my craw it was consistently funny throughout even if unoriginal and for whatever it may be worth I had very low expectations coming in and they were exceeded.

It’s a funny little film if you just don’t think about it too much as clearly I have.

6/10

Review- Tron: Legacy

Posted on April 5, 2011 by bernardovillela

Jeff Bridges in Tron: Legacy (Disney)

It would be best to lead with what works with this film, which is easier to enumerate than what does not. What does work, at least a majority of the time is the visual effects, the score is kind of cool too. This film is a visual effects artists’ playground but simultaneously the enemy of narrative. You should have seen it coming as few and far between are the positive reviews that lead with “The effects were so great.” However, as impressively striking as some of the visual sequences are some are bothersome also.

Those that are bothersome are mainly the computer-generated Jeff Bridges. Granted that in the first sequence they do a good job of camouflaging the CG-ness of the younger version of Bridges but having to look at a CG Bridges under the guise of Clu is very annoying after an extended period of time.

The issues for the story, which faintly flits about behind a computer generated masquerade, begin almost from the minute that answers start being provided. The mystery of “how did Sam (Garrett Hedlund) get here, why is his father still here and why can’t he leave?” is intriguing enough until you start to get answers.

The problem with the answers is how they are written. It’s as if the screenwriters mistook being confusing for sounding smart. As a matter of fact there’s a ten minute stretch of the film wherein none of Jeff Bridges’ lines are entirely coherent.

There’s nothing wrong with a veil of confusion being thrown over a subject matter and the film either doesn’t try to answer the questions or does it best to answer them. This film does neither. It’s neither the kind of film that relishes ambiguity of meaning like some of Bergman’s work or tells an involved narrative but explains everything painstakingly like Inception. It just sort of sits there and you stare at it because it’s there and you don’t know why you stare at it but you just do. Which is saying something, that is that it’s not boring but it is most definitely insipid.

Moving on you glean whatever you glean from half-truths and gorilla dust, to quote the late great Phil Hartman, the basic plot is that Bridges’ character created an alter-ego when he was less wise than he is now and his megalomaniacal tendencies lead Clu to rule The Grid, this video game world, with an iron fist. And then? The stakes never seem that high because Kevin (Bridges) is reticent to leave at first even though it’s quite clear how it can be done. Furthermore, there’s little incentive for us to get emotionally involved because the laser light show has to start as soon as possible and therefore the bond and the heartbreak of the separation of father and son are never really firmly entrenched except in a very superficial way.

This is the epitome of a “Hit Me Movie” in the worst kind of way. You end up bathing in slick imagery and when it’s done you don’t feel cleansed or refreshed on the contrary you feel dirty.

2/10

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The Movie Rat