Film

Review- Battle: Los Angeles

Posted on by bernardovillela

Aaron Eckhart in Battle: Los Angeles (Columbia Pictures)

As is sometimes the case I will lead with the few negatives I have to say about a film to accentuate the positives afterward. This is what I will do for Battle: Los Angeles because I did walk away very pleased and rather impressed in the end, my tweet reaction being: “An enjoyable theatrical double feature today. Say what? Battle: LA revives invasion films with moments of symphonic brilliance.”

I have found that tweeting a knee-jerk reaction to a film can be quite helpful to the review process it allows you to encapsulate your overall view of the film and then explore why you feel as such later on. It also illuminates that this film ends rather strongly after a rather plain start.

First, this one of the rare films wherein a frame doesn’t really serve the story well. The film starts with footage which is in medias res of the alien invasion and then backtracks to a day before. This does a disservice to the film by dulling some good foreshadowing that is done prior to the attack. The foreshadowing is left without impact due to the fact that the table has been set likely for the impatient audience member.

The other thing that needs saying is that there are a fair amount of cliché used to construct it. There is the character who is handing in his resignation and we view his “I’m getting too old for this crap” scene, there are young soldiers, a teased virgin, one who lost his brother, the tough broad aptly played by Michelle Rodriguez as always. As with anything, however, it all boils down to execution. Cliché without execution in insufferable, cliché that gets stripped down, that eventually leads to individualized characters that you can identify with in a vehicle that works is a whole other story.

What I’m talking about in my tweet is the synergy that exists when the battle really gets underway, a synergy of the cinematic elements such as the edit, the cinematography and score to make the stakes of the tale hit home. One of the traps of the invasion and/or apocalyptic film is that the stakes couldn’t be higher but at times we could care less. This story is one of a more hand-to-hand combat, a more guerrilla style, which lends an immediacy to the tale. Also lending to the atmosphere is that, as much as it can be, this film is a microcosmic tale. You get a sense of the larger destruction around the world and how many major metropolitan areas are in the same boat but the film only shows you glimpses of it. You are watching this small battlefield and invested in these characters and it does affect you viscerally first and foremost.

It being a war movie in essence makes it one of the few cases when wildly flailing handheld camerawork is preferable but in trying to lend this film a modicum of reality it never forgets its intended audience and makes everything visually intelligible, which is no small feat or backhanded compliment, it truly is something to communicate chaos with clarity.

What is also good to see is that the battle is ultimately decided by perseverance and human intuition and there’s no fortuitous break that salvages mankind as there in the granddaddy of invasion stories War of the Worlds. The film also ends on a realistic and level plane. There is the exaltation of victory but no happily ever after moment. Merely we see the characters who survive moving on and we have the knowledge that other cities now have a blueprint to get through this but we don’t see that.

Michelle Rodriguez in another great action performance already got her due in this review, and she seems to get more great turns in the genre than most these days, however, what really carries this film is Aaron Eckhart. Eckhart who if he was an athlete would likely be referred to as sneaky good. He’s the kind who tends to get overlooked but then you see him in something you weren’t expecting him to do and are blown away all over again. This is different than him in The Dark Knight, Thank You for Smoking or Erin Brockovich. This film also has something a little different than Stunt Casting, for lack of anything better to call it let’s refer to it as Diamond Casting, which means when you spot someone you recognize some one from a long ago film (there’s that glimmer) but you can’t put your finger on a name. Here it happened in a few cases and that would be with Noel Fisher, Will Rothaar, Taylor Handley and Lucas Till. There are also two fantastic performances by young supporting actors namely Bryce Cass and Joey King.

At times it can seem like any alien invasion film coming out can seem most tired but every once and a while one of these films will surprise you. In my estimation Battle: Los Angeles is such a film. It is most definitely worthy of your viewership.

9/10

The Gray Area Reviews

Posted on by bernardovillela

Every year there is invariably going to be a gray area with regards to films. What I mean by that is due to the tyranny of release dates (meaning Oscar-nominated or contending films being released towards the end of the year) there will be some that slip into the following year.

Some of these films will fall into the gray area meaning they were out in say 2010, I had adequate opportunity to see them but passed for whatever reason. Some I was ignorant about their release so they retain their eligibility for the following year.

This year has an additional shade of gray, if you will, and that comes form the fact that I was transitioning from one site to another and busy archiving rather than writing new content. Some films failed to get timely reviews due to that fact, however, they still deserve them and that’s what this article hopes to do: bridge that gap.

So without further ado: The Gray Area reviews.

Rare Exports

Rar Exports (Oscilloscope Films)

There isn’t much in the way of originality coming out of American horror films these days. If you want something different you’re better off going international specifically to Europe. Rare Exports is a Finnish film that tackles the Santa Claus in horror subgenre with style, humor and intelligence much in the way the Norwiegian film Dead Snow took on the Nazi zombie subgenre.

There is a good bit of folklore re-interpreted and made to be a modern horror tale with a few intentional chuckles along the way. There is some good make-up work and some really good performances out of the cast both young and old.

The only thing that holds this film back is after a while it stops progressing its narrative and danger quotient and just sort of stagnates. It never becomes uninteresting and has a nice button at the end it just slips in the latter part of the second act into the third.

It is, however, a brisk and fun watch that you should look for on video when it comes out.

6/10

True Grit

True Grit (2010, Paramount)

This film falls into the Gray Area because I only managed to see it in January though I had chances to in December. For the record, I would not retroactively include this film in my Top 15 of 2010, however, that is one of the few things I can really fault it for. The film works and it works well I could just never get as involved with it as it wanted me to be.

The other thing that is a little bothersome is that in a rather realistic and well-spoken film you get an ending that smacks of a Hollywood cliché. The annoyance of false climax aside it’s two perils combined in one to add a little more running time and a quasi-tragic button to the whole affair.

Regardless of that the film is beautifully photographed by Roger Deakins and is played very convincingly by its cast particularly Jeff Bridges and newcomer Hailee Steinfeld. It’s a plot that’s simple enough but also intriguing enough that it naturally becomes a character study without ever being tiresome.

8/10

The King’s Speech

Colin Firth in The King's Speech (The Weinstein Company)

I have been reading some people either complain or just state how The King’s Speech is both rather bulletproof but also not mind-blowing. To re-iterate the above review if I had to go back would I slide this film in my Top 15, probably not, do I get the bulletproof comments? Yes.

There is even less to nitpick this film about, if you want to use that term than there is for True Grit. The only thing that slightly holds it back in my book is the intangible visceral reaction that I just didn’t quite get out of this film as opposed to others.

It’s not a daringly original film in terms of concept or structure it’s just very well executed, acted, edited and shot. It’s the kind of Best Picture contender that while I may not have nominated I can really get behind because it is the best film that the lowest common denominator can get behind. Seriously, who can hate this film?

Before you answer consider the fact that I may need to ask you what your problem is. This is a really easy film to get into whether it blows you away or not and is a really likable kind of story. It’s a “feel good” movie without all that “feel good” movie cheese in the mix.

9/10

The Rite

Anthony Hopkins in The Rite (Warner Bros.)

The Rite is a rather surprising entry in the possession/exorcism subgenre of horror. There’s not a lot of new ground to tread so far as this kind of tale is concerned, however, the one thing this film, does right off the bat is acknowledge the existence of the subgenre with a reflexive joke about The Exorcist.

This film, of course, is a little like that one: there’s an old priest and young priest, there is the subject of doubt and it is in turn more about the exorcist than the exorcised, as a matter of fact, the exorcised are typically rather glossed over. However, what this film does do is deal with the mundane aspects of exorcism, it deals with many possessions and brings it down to earth a little from where its been.

The examples it uses as proof are simple and well-thought out. There are very good flashbacks in this film that allow more doubt to be created about where the tale is going then you’d ever expect.

Then there’s Anthony Hopkins. Just the fact that I am mentioning his name this late is an indication that this is a quality film worth seeing. Without saying too much there are shades of Hannibal Lecter in his performance which are great. The acting overall in fact really props this film up. It is definitely worth viewing.

8/10

The Green Hornet

Seth Rogen and Jay Chou in The Green Hornet (Columbia Pictures)

I truly shudder to think at what this movie would’ve been like had it not been for the creativity and flair that Michel Gondry brings to it. Yes, there is plenty of competition between action and comedy elements of the tale and both serve the film and story well but there’s also a lot of both and the film gets a little long in the tooth. As an origin story it’s not the most gripping based on how its handled not just based on the empirical facts of the character such that the flair and verve that Gondry brings is desperately needed.

The name Seth Rogen in the same sentence as the word superhero still does seem a little funny to say, however, it does kind of work for this character because it’s not a case of his being superhuman and his sidekick, well-played by Jay Chou does contribute quite a bit to the equation.

6/10

Mini-Review- The Academy Award Nominated Short Films, Live Action

Posted on by bernardovillela

This past weekend there was a screening of the live action short films that are nominated for an Academy Award. I have decided that since overall the category is so strong that I would include a still image from each. These are films that deserve to get their recognition beyond just the five minutes of the Oscar broadcast that they occupy. So these screenings arranged by Shorts International and the theatres that screen them are to be commended. They are a bit long but there has to be some way to include the documentary shorts in a broader way next year, here’s hoping.

As for the films like I said I was resoundingly impressed with the strength of the field but I most definitely have a favorite.

The Confession

Lewis Howlett in The Confession (National Film and Television School)

And here it is. It is so shockingly rare to see a short film that is so layered and plays on so many levels as this one does. There are moments of genuine comedy, horror and drama in this film. It is a beautifully shot and composed film that shows the tragic consequences of the combination of real guilt and “Catholic guilt.” It’s a film I’m not ashamed to say brought me to tears at the end which is a feat that’s unprecedented in my limited experience with shorts.

Wish 143

Oliver Arundale and Dolya Gavanski in Wish 143

What Wish 143 does well is to create a serio-comic tale. It is not a greatly nuanced tale but it works. How well it works is where most of the interpretation comes into play. As I watched it the thought occurred to to me that this is what Holden Caulfield would be like if he was a cancer patient. Specifically, I recall the scene where he hires a prostitute and all he really wants is company. That’s a bit of an oversimplification but gives you the gist of this tale as it is centered around a young man seeking to lose his virginity in the time he has left.

Na Wewe

Floris Kubwimana in Na Wewe (A PRIVATE VIEW)

This a simple tale that subtly demonstrates the stupidity of genocidal tendencies. It concerns a bus traveling through Burundi in 1994 at a time where the Hutus and Tutsis were at war. The passengers are all taken off and then questioned regarding their background. There are a few great twists and good jokes in the tale as well as moments of drama. Furthermore a pretty good original (to me anyway) song to end it and underscore the message of the film.

The Crush

Olga Wehrly and Oran Creagh in The Crush (2010)

This is a pretty funny, dramatically well-executed and honest portrayal of a boy’s crush on his teacher. It’s deceptively simple as it does have a few surprises in store. It can be easily be described as the most charming and charmingly told of the short film nominees and it also deals with a universally relatable concept, most of us have has a teacher who fits this mold and it’s not only a wish-fulfillment tale but also concludes rather logically.

God of Love

Tim Matheny and Christopher Hirsh in God of Love (2010)

The funniest of the nominees, this is the fantastical tale of a modern-day cupid. It’s told in such a way, however, that it reminds you both a little of Magical Realism but also of the Early-Career whimsy of Woody Allen such that it is also a very entertaining entry.

In conclusion, I would not be disappointed in any of these films being given the Oscar but I do think that The Confession is the most special film of the group.

Review- Megamind

Posted on by bernardovillela

Megamind (Paramount)

The phrase “flip the script” has become a part of the vernacular as an expression of a 180-degree change in the expected course of action. Oddly enough, even though there is a cinematic connotation to this expression you rarely see a film that exemplifies this expression. Megamind is that kind of a film. While you can’t claim it’s wildly original it does set up certain expectations and exploits them very well.

What is refreshing is that not only do you get a villain-turned-hero but you also have a new villain emerging from an unexpected source. You also have a reluctant hero who fades completely into the background and doesn’t make a triumphant return.

The film absolutely refuses to be overly-simplistic and didactic in showing why those who turned villainous did and why there was a change in our protagonist and how. It also nicely implies that heroism was, in fact, Megamind’s fate, as we never learn what his parents said to him before sending him off to Earth. It ended up being circumstance and not reacting to it well that lead him down the path he took.

What is also good to see is that as Megamind disguises himself to try and gain a new rival there is a great treatment of the “Bad Friend Plot.” This occurs with a rift between Megmind and Minion. There is no failed attempt to reconcile and when they do reunite it is surprising and satisfying, avoiding unnecessary convolution of the story.

While the film clearly excels in dramatic terms it is also rather successful on the comedic side of the equation and the comedy excels more often than not. Megamind’s mispronunciations, while hit-or-miss, do play a key role in the film.

While this is yet another animated film that insists on boasting name recognition in its voice talent with Will Ferrell, Tina Fey, Jonah Hill and Brad Pitt, they do all commit themselves to their character work enough that eventually you do think of them in terms of their character and not the performer. It just takes a little time.

Which is also a tribute to the writing in this film. Aside from the many interesting variations on themes that you get there are also clearly defined characters with struggles, needs and wants that you identify with and this is true of all the significant personages.

The animation in this film is quite impressive with the great cityscapes it creates and in terms of the 3D there are worst purchases you could make at the movies this year.

8/10

Megamind is out on DVD today.

Review- Due Date

Posted on by bernardovillela

Robert Downey, Jr. and Zach Galifianakis in Due Date (Warner Bros.)

If you’re trying to decide whether or not you should see Due Date it boils down to one key question: How big a fan of Zach Galifianakis are you? As a film it passes marginally. As a showcase for Galifianakis and all his quirks it soars. So that is really what’ll tip the scales for you one way or another.

The epitome of this is shown through the fact that his character who is an aspiring actor seeking to move out to LA. A doubtful Downey Jr. asks him to play out a scenario for him. On his second chance, after another false start, he really shines and it’s a great moment.

Before getting into some of the issues that do face this film it does need saying that this is indeed a very funny film. The three men who deliver the largest doses of that comedy are, of course, Galifianakis, Downey Jr. and Jamie Foxx. Some of the situations are also rather humorous so that helps buoy the film along.

The major hurdle this film faces is the question of how forgiving are we as an audience and in turn should our protagonist be. Some of Ethan’s (Galiafianakis’s) mistakes are through sheer ignorance and naivete but towards the end you learn something that really changes things and you stop for a second and wonder how it would really pan out or how you’d prefer it to pan out, depending on your level of outrage.

Granted Galifianakis’s character does not have bad intentions he is just very socially maladjusted and awkward but still everyone has a breaking point and perhaps this had exceeded it. Only the logic that he does have to get there for the birth of his child and he’s already gotten so far really makes it feasible.

The baby brings to mind another quibble: the film plays up the “Is she cheating subplot?” a lot. Such that you think it’s a definite only to squash it. It only ends up being good for some humor but it went too far in terms of circumstantial evidence to be brushed aside so simply.

There are many good laughs to be had in this film it’s just the form it takes and some of the decisions that it makes along the way that are counterproductive to it reaching maximum effectiveness.

6/10

Due Date is out on DVD today.

Justin Bieber: Never Say Never Extended Cut Coming this Weekend

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Justin Bieber in never Say Never (Paramount Pictures)

As previously reported Paramount is poised to release an extended cut of Justin Bieber: Never Say Never this coming weekend, for one weekend only.

Reports vary between sources about how much content would be added but estimates are between 30-40 pushing the running time over two hours.

The film will include music which is not seen in the current cut, more friend footage and other things which were suggested by fans and already existed but were excised pre-release. What’s perhaps most compelling is that the film will get somewhat reflexive and include footage of fans watching the sneak preview of the film on February 9th, which truly brings the story of the film full circle. Jon Chu, director, in the video embedded below talks about how this film fits the mold being made by the current artist.

Ultimately, it is quite likely that the correct decisions were made for the initial theatrical release as it was quite a successful that told a well-rounded tale and didn’t just shoot concert footage all fancy like but it would be interesting to see what was left out and how an extended cut change things. Again it’s something you can look at a few ways: either crass or a team and crew going the extra step to thank the fans who made all of this possible. With all the suggestions and the technology available (as Chu mentions it’s screening in 90% digitally-capable cinemas) these were easy request to accommodate and documentaries offer more flexibility.

It is also being reported that the film will be released on DVD in August. That has yet to be confirmed by Paramount and clearly details don’t yet exist about it.

Review- Waiting for ‘Superman’

Posted on by bernardovillela

Geoffrey Canada in Waiting for 'Superman'

Waiting for ‘Superman’ comes out on video today

When I was about 14 years old the film Hoop Dreams came out. At the end of that year Roger Ebert cited it as one of, if not the best movies of the year. This is not an Ebert rant but a point shall be made. At the time being young, naive and having not seen it I didn’t know how that could be possible for a documentary to earn that kind of praise. I have become enlightened since then and this film is proof that it can indeed happen and is likely to stand amongst the best films of the year.

Another reason that anecdote was relayed is that this is a personal film. It is personal in many ways not only in that it focuses on individual children while examining the system as a whole but also because as you watch it you’d be hard pressed not to think back to your public schooling experience and either remember something very reminiscent from your own past or come to some greater understanding of the monstrous machine in which you were raised.

Which brings me to my next point: this film is not propagandist. There are several statistics illustrated and cited (if you look close you can see sources). So there is support for the film’s claim that the system is broken and what a bulk of the information is trying to discover factors that lead to that and what possible solutions are.

It is most jarring especially if you were public schooled but were perhaps not well-versed in the politics of the system and some of the terminology. By highlighting a nauseating systemic issue with the individual struggles of children today in our educational system it does become a very emotional experience indeed.

Not to give much away but there are many issues that will be examined like Tracking, The Lemon Dance, The Rubber Room, Tenure and Union Dysfunction. Hearkening back to an earlier point, aside from humorous and creative use of archival footage there is nothing done in the edit to paint anyone in a worse light than they are painting themselves.

Documentaries are a tough business. You have to go where the facts and the footage take you despite what you set out believing. What Guggenheim does well is not only personalize his subject matter but pick topics for which there is overwhelming statistical data to support his hypothesis.

The film shows you the odds these kids are facing as they are trying to get into a school that will give them a better chance, one that won’t allow them to get lost in the shuffle. They are odds that seem insurmountable and surely the results aren’t always great but the film does allow for a glimmer of hope.

First, it is creating a dialogue much like his previous film An Inconvenient Truth did for global climate change. However, in another great piece of marketing from the folks at Paramount it is allowing people to make a difference, even more than the Pledge to see this film which is similar to the Demand to see Paranormal Activity campaign. Everyone who purchases a ticket gets a $15 voucher to donate to their favorite educational program. Details are available here.

Davis Guggenheim was last in the news for backing out of the Justin Bieber 3D film due to the need to promote this film. It was the right choice. John Chu is more than capable of handling that and this film needs its director supporting and publicizing it much as we need it seen and it needed being made.

10/10