Top 10 of 2007

I love lists. I always look forward to making my end of the year top ten lists. This year, like most years, has been difficult when narrowing down my choices. So many good films and television shows, so few slots. My biggest regret is leaving Children of Men off the list. It technically came out in 2006. I didn't watch it until 2007 but if I went by that reasoning, any 1990s video I watched would be eligible. So unfortuntely Children of Men is absent (it would have scored pretty high on the list, incidently). I added a new list this year, hope you like 'em. And if you don't, feel free to argue.

TOP 10 FILMS OF 2007
I don't want to repeat myself. Just click on the links for the full reviews.




1. Juno
"I’ll just say it has everything: a great story that knows when to wrap up, wonderful quirky characters who aren’t quirky for quirky sake, clever lines that are filled with creative slang and punchy sarcasm, dramatic moments that still move me think about them, an original soundtrack with music that your head unconsciously bops to, beautifully cinematic close-ups of hands, feet and stomachs, and a conclusion that makes you happy to be alive."
http://popculturepusher.blogspot.com/2007/12/juno.html

2. No Country For Old Men
"No Country for Old Men has everything going for it: acting, script, cinematography, lighting and even sound design. This is a must see movie, assuming you can stand some brutally violent scenes. I’m thinking that No Country for Old Men is the current benchmark for how a suspense film should be done. This is a movie that will definitely stick with you long after the silent credits roll."
http://popculturepusher.blogspot.com/2007/11/no-country-for-old-men.html

3. 300
"Some critics say they could have simply watched the trailer, but then they’d miss out on some great scenes like the one involving philosophy while eating an apple. If you think this movie will be like Brad Pitt’s clunker, Troy, you are greatly mistaken. In my opinion, 300 is a mixture of Sin City’s graphic images, Gladiator’s wheat scenes, and Lord of the Rings epic battle sequences. And a mixture of those three films is not too shabby."
http://popculturepusher.blogspot.com/2007/03/movie-onslaught-part-iv.html

4. The Darjeeling Limited
"The Darjeeling Limited uses metaphor, quirks, clever one-liners and fascinating characters to tell his story. I do find it interesting how most of his stories deal with rich individuals who have a hard time expressing themselves. While the spiritual journey begins on the train, it doesn’t truly get started until long afterwards. Even when you think they have learned all there is to know, Anderson takes you even further."
http://popculturepusher.blogspot.com/2007/11/darjeeling-limited.html

5. Across the Universe
"Of course, the main reason to see Across the Universe is the beautiful cinematography created by the brilliant Julie Taymor (Lion King Musical, Titus). Mixing psychedelic, symbolic, fantastic and epic images together, Taymor interprets the Beatles tunes in a fresh way. Lighter songs are mixed with darker images and vice versa, while some songs just seem to fit; “With a Little Help From My Friends” is done is a dorm room filled with guys being guys. It works for me. "
http://popculturepusher.blogspot.com/2007/09/across-universe.html

6. American Gangster
"Of course, the reason to watch American Gangster is to see the powerhouse performances of two Hollywood heavyweights. While they both are captivating whenever they are on the screen, I think Denzel comes out as the winner. Maybe it’s because Washington’s portrayal of real-life Harlem druglord, Frank Lucas, is so finely tuned. Washington commands the screen every time he is on it. There’s a level of strength, confidence and preciseness that is almost mesmerizing. "
http://popculturepusher.blogspot.com/2007/11/american-gangster.html

7. Charlie Wilson's War
"I didn’t need to view any footage to make me eager to see it, I only had to look at the three names attached: Hanks, Roberts, Sorkin. Add in Philip Seymour Hoffman and the fine directing of Mike Nichols (The Graduate, Closer) and you’ve got the makings of a can’t-lose picture. Of course, the subject matter has to do with war in Afghanistan but who cares when these phenomenal artists are involved."
http://popculturepusher.blogspot.com/2007/12/charlie-wilsons-war.html

8. Knocked Up
"You can thank writer/director/producer Judd Apatow for giving this movie a strong base. It’s kinda like Apatow bakes the cake and the actors add all the frosting and sprinkles on it to make it even more delectable. I’ve been watching Apatow’s earlier TV work on The Larry Sanders Show and have found that this writer/director knows how to perfectly mix the crass, the realistic and the heart."
http://popculturepusher.blogspot.com/2007/07/knocked-up.html

9. 1408
"'It’s an evil fucking room'. And that it is. The room has a mind of its own as it gives Cusack’s Mike Enslin one hour to live. Now in case you’re wondering, this movie isn’t torture porn like Saw and Hostel; it isn’t gory and there is only a little blood. What this film does have is suspense and disturbing images. It’s a psychological thriller. I would say it’s like The Shining with a much faster pulse."
http://popculturepusher.blogspot.com/2007/07/1408.html

10. Live Free or Die Hard
"When you go into a Die Hard film you need to expect the following: taunting comments from Willis’ John McClane, stunts that are way beyond the realm of possibility, and a “yippee-ki-yay motherfucker.” Check. Check. And Check (even though it’s muffled due to its first PG rating). Live Free or Die Hard has all that you should expect in a summer big-budget action flick. I walked out of the theatre entertained and a little deaf from the sound. Good times."
http://popculturepusher.blogspot.com/2007/07/live-free-or-die-hard.html

TOP 10 FILM SCENES OF 2007
This is a new list. While some films are just great all around, there are some scenes in both great and average movies that still stick with you long after the film is done. Here are my favourites of the year.

1. Ratatouille - Anton Ego's bite of ratatouille
How else can you show the impact of deliciousness? Brad Bird pulls this off brilliantly with the quick cuts to Anton as a sniffling boy and then the dropping of the pen.
2. Grindhouse - The climactic missing reel in Planet Terror
Just before a quiet sex scene, the film disintegrates and then the film continues in the midst of climactic battle against zombies where secrets have already been revealed.
3. Charlie Wilson's War - Gust Avrakotos meets Charlie Wilson
Avrakotos (Phillip Seymour Hoffman) keeps entering and exiting Wilson (Tom Hanks)'s office while Charlie's attractive assistants try to squash a tabloid rumour. Funny.
4. Hot Rod - Rod Kimble falls down a very high mountain
Rod completes a Footloose routine in the forest that ends up catapulting him down a mountain side. There is no end to the tumbling. Great physical humour.
5. Live Free or Die Hard - The dark tunnel sequence
With the lights turned off, cars crash and almost squish Bruce Willis and Justin Long. It ends with Willis propelling a car into a flying helicopter. Unbelievable but great fun.
6. The Bourne Ultimatum - The Waterloo Station sequence
Jason Bourne guides journalist Simon Ross through the busy Waterloo station while he is under surveillance by the CIA. Now we know what goes on in Bourne's head.
7. Across the Universe - I've Just Seen a Face
Jim Sturgess' Jude fancies Lucy and begins to sing 'I've Just Seen a Face' while the crowd of young people dance among psychedelic lights in a bowling alley. Fun stuff.
8. Transformers - Hiding in the garden
Optimus Prime and the Autobots clumsily hide in Sam's backyard while he's getting a talking to from his parents. This scene also has Prime's "my bad" line.
9. Blades of Glory - The skating chase
Stranz (Will Arnett) chases Chazz (Will Ferrell) through a building while wearing figure skates. Slipping ensues. Also getting stuck on an escalator and Snowflake's demise.
10. The Simpsons Movie - Spiderpig
"Spiderpig, Spiderpig, does whatever a Spiderpig does. Can he swing from a web? No he can't he's a pig. Lookout, he is a Spiderpig." Genius.

TOP 10 TV SHOWS OF 2007
I've talked about most of these shows before. I'll just list some of the my highlights of the year.




1. Lost (Last year: 1)
What this year had going for it: Locke’s big fall, Desmond’s disturbing gift, the true Sawyer, the awful death of minor characters, Ben’s creepy eyes, Charlie’s list, Hurley’s daring rescue, Sayid’s foot trick, and the mind-blowing flash-forward. It doesn’t get better than this.

2. Pushing Daisies
What I like about this new show: beautiful cinematography; likeable characters; Jim Dale’s voice over, Kristin Chenoweth singing, Digby the dog, Paul Reubens cameos, the fascinating premise, the music cues, quirky dialogue and pie. It’s the most clever, imaginative thing on television right now.

3. The Office (Last year: 4)
What this year had going for it: Jim and Pam’s romance; guest directors; the outrageous and quotable talking head interviews; the twist of a finale with Ryan taking corporate to a whole new level, Kelly’s rebound; Angela’s cat; Moes creepiness and Jan’s boob job. This is unmissable television.

4. Damages
What I like about this new show: the suspenseful plot that is full of clever twists and turns; the evilness of both Glenn Close and Ted Danson; the tragic Ray Fiske; the colour-coded editing; the constant time-jumping; the still-unanswered quetsions; the fast pace and the condensed time frame. This tided me over during Lost's absence.

5. Battlestar Galactica
What this year had going for it: the reveal of the final five; Tyrol and Cally stuck in the airlock; Baltar’s treason trial and the reappearance of Starbuck. To be honest, I started watching Galactica this summer, so the whole series is fresh in my mind. If I watched it when it came out, I’m sure it would have been on previous lists.

6. How I Met Your Mother (Last Year: 8)
What this year had going for it: The slap bet; the summer-long legendary ‘wait for it’ pause; Robin’s older date; the deflowering of Barney; every word out of Neil Patrick Harris’s mouth; the small reveal of the mother; Wayne Brady as Barney’s gay brother; the platinum rule; the Fiero and Bob Barker. This show is awesome.

7. Dexter
What I like about this new show: Dexter’s inner monlogue; the dark humour; the season long arcs of The Ice Cream Truck Killer and The Bay Harbor Butcher; the close calls, the final moments of Sgt. Doakes; the blood splatters; the eventual pay-offs and Michael C Hall’s fantastic acting; Talk about a tour-de-force performance.

8. 30 Rock
What this year had going for it: The Isabella Rossellini fight; Liz plays hard ball with Josh; Will Arnett as Jack’s whispering rival; Seinfeldvision; David Schwimmer as Greenzo;Jack portraying all of Tracey’s family; fat Jenna; Tracey's ankle bling and the wonderful Tina Fey. This show has finally hit its stride.

9. Dirty Sexy Money
What I like about this new show: Peter Krause’s mix of self-righteousness and utter shock; Samaire Armstrong and Seth Gabel as the bratty teens; Karen’s outrageous flirting with Nick; the bitter pettiness of Brian; the cat fights and the fun ring tones. It’s Dynasty meets Arrested Development.

10. Chuck
What I like about this new show: Chuck’s sheer innocence; the sexy Yvonne Strzechowski; the comic timing of Adam Baldwin; Captain Awesome ; CS Lee as the villainous Harry Tang; the Nerd Herd and the use of the Buy More store to stop crime. It’s Lone Gunmen meets Andy Barker PI meets Alias.

So there you go. Hope you enjoyed the lists. Feel free to tell me your favourites. What's in your top ten?

Juno

Wow. I wish I could just say that and let you experience Juno for yourself. I don’t even know if I can accurately express my thoughts on this film. I’ll just say it has everything: a great story that knows when to wrap up, wonderful quirky characters who aren’t quirky for quirky sake, clever lines that are filled with creative slang and punchy sarcasm, dramatic moments that still move me think about them, an original soundtrack with music that your head unconsciously bops to, beautifully cinematic close-ups of hands, feet and stomachs, and a conclusion that makes you happy to be alive. I went in with great expectations and left with great satisfaction. Juno was a wonderful way to end a year of movie watching. I’m done till January.

The three individuals who deserve most of the credit for this unbelievably charming film are Jason Reitman, Diablo Cody and Ellen Page. Reitman directed Thank You For Smoking, my favourite movie last year, and now he does it again with Juno. This Canadain-born director knows how to film. Juno isn’t as slick as Thank You for Smoking, but it doesn’t have to be, it just needs to tell a compelling story and bring the audience in for the ride. Reitman masterfully directs this wonderful script from newcomer Diablo Cody. She’s gonna win an Oscar for this. Hands down. She previously wrote the critically acclaimed bestseller Candy Girl: A Year in the Life of an Unlikely Stripper, but this is her first movie script. Cody has not only created a brilliantly layered character in Juno with her quick sassy dialogue that smacks of insightful social commentary, but is able to surround her with an array off-kilter friends and family. Luckily, this complex character is skillfully portrayed by the amazing Ellen Page (Hard Candy, X-Men: The Last Stand). She’ll also get nominated for an Oscar. Her sheer spunkiness adds life and energy to this picture, but she is just as compelling when dealing with situations far beyond her maturity level. I haven’t seen her in Hard Candy, but I’ll be checking it out soon, solely based on Page’s performance in Juno.

While those three individuals may get all the accolades, there are many others who contribute to this wonderful production. Jennifer Garner is outstanding as Vanessa, a woman waiting in the wings for Juno’s baby. Garner flawlessly portrays the longing for a child. She tries hard to make everything perfect, but you can see the fear of rejection in the way she communicates. I never once, thought of her as Sydney Bristow of Alias, Garner completely captivated me. Jason Bateman gives a nuanced performance as Vanessa’s husband who is apprehensive about fatherhood and growing up. He even becomes a little creepy. JK Simmons and Allison Janney are amazingly supportive as Juno’s parents. Despite Simmons gruffness, one can still see the heart. Janney, fresh off her turn as the deeply religious mother in Hairspray, gets some of the best lines in the movie in regards to doctors and sonogram technicians. Of course, Michael Cera (Superbad, Arrested Development) is perfectly cast as the awkward father of Juno’s child. His statements about love and friendship are both honest and funny and almost makes you forget about his distractingly colorful running gear.

There aren’t that many films about teenage pregnancy. Juno refreshingly deals with this taboo subject with humour and maturity. This movie makes a point of dealing with teenage pregnancy from a social and emotional level. While I found myself laughing out loud through a lot of the film, it was the emotional moments that kept me grounded to the narrative. This story is sassy and sweet and keeps you invested in the characters; one of the final scenes at the track still makes me smile from ear to ear. I left Juno feeling like I was walking on air, I haven’t felt this kind of elation since leaving a screening of Stranger Than Fiction last year. There are no special effects, so big screen viewing is not mandatory, but if you want to leave a movie with a big, big smile, watch Juno.

The Christmas Movie Onslaught

It’s that time of year again where I watch almost a movie a day to get them all in before the new year. And because I don’t want to spend my entire Christmas break writing blogs, I’ll just do some quick reviews.

I’m glad that John C Reilly has finally been given the chance to headline a comedy in Walk Hard. He began his career in quieter dramatic supporting roles (Magnolia, Chicago, The Hours) but ever since Talladega Nights, Reilly has shown what a gifted comedian he truly is. Just view his work on funnyordie.com and you’ll be laughing out loud. In this Apatow comedy, Reilly plays Dewey Cox, a fictional musician whose life closely resembles Johnny Cash, Ray Charles and Bob Dylan. Like Spinal Tap before it, the audience is treated to authentic songs with cleverly insane lyrics; the entendre-laden love song “Let’s Duet” and the incomprehensible Dylanesque “Royal Jelly” are fantastic, especially with the pleasant singing voice of Reilly himself. The plot nicely skewers many decades of music as we see Dewey Cox cross various radio formats. And let’s not forget the fantastic supporting cast: Kristen Wiig as the belittling wife, Jenna Fischer as the coy lover, Raymond Barry as the disapproving father, and Tim Meadows as the drummer who ‘accidentally’ introduces Cox to all kinds of drugs. (Actually, I’ve never seen Meadows this funny.) But the highlight of the movie would have to be the interaction between the self-referencing Beatles played hilariously by Jack Black, Paul Rudd, Justin Long and Jason Schwartzman. It’s solid gold. Unfortunately, the movie goes on a bit too long and drags near the end, but it still is one of the best spoof movies in recent years. It’s not one of those Epic Movie-type films where they lazily show spoof scenes loosely scripted together. This one has an entertaining story that happens to steal from Ray (like losing his smell) and Walk the Line (with the constant destruction of sinks). This was a fun ride.

To be honest, I was hoping to see Juno but was a day early, so we ended up watching National Treasure: Book of Secrets instead. So I probably didn’t have the most open mind while watching this Bruckheimer flick. I also haven’t seen the first installment, not that it was too difficult to catch up. I would compare National Treasure to a mixture between The DaVinci Code and Tomb Raider. I wasn’t a huge fan of those movies either. It’s not like this film is terrible, it’s just there. It’s a fine escape from reality. If you’re going in expecting Indiana Jones, you’ll be disappointed; just wait a few months to see the real thing on the big screen. There are some fun scenes and Justin Bartha as sidekick Riley Poole has come great lines here and there. It’s also interesting to see Helen Mirren in non-Queen attire jumping from cliff to cliff. Nicolage Cage is his usual over-the-top action figure which doesn’t bother me too much. The real disappointment in this movie however, was Ed Harris. Wow, they didn’t give him much to work with; he pretty much sucked, which is a great departure from his usually stellar work. National Treasure: Book of Secrets is fine family flick but not much more. If this strike ends soon, I’m betting the third one will be out by 2009, and I don’t need a hidden message in an American monument to tell me that.

Atonement is ripe with powerful moments but has a hard time maintaining an engaging flow. The first thing that grabbed me about this epic period piece was the music. Normally, film music isn’t high on my list, but this haunting score punctuated with typewriter sounds hooked me right from the start. The cinematography is also nicely done with a wonderfully choreographed one shot as James McAvoy (The Last King of Scotland) explores a busy soldier infested beach. McAvoy does a wonderful job as the wrongly accused Robbie as does Keira Knightley as the independent Cecilia (a nice departure from her Pirate films). However, it’s the young Saoirse Ronan who will get under your skin. As the mistaken younger sister, Ronan’s eyes alone speak volumes, so much so that the camera even closes in on her viewing pupils. The story is nicely told with some well-crafted editing to show the true details of misconstrued events. This film is definitely for older audiences who have patience for a slower paced tale. Just as a warning, those in the older markets may a bit offended by a particular word that is typed but never spoken. As whole, the film is well done and is the kind of Oscar bait we expect year after year. Take that as you will.

Sweeny Todd

Talk about dark. After running through a list of Tim Burton films in my head, it is no exaggeration that Sweeny Todd is his darkest masterpiece yet. True, almost all Tim Burton movies contain dark material; heck, even Charlie and the Chocolate Factory has its wicked moments, but this newest collaboration with Johnny Depp is a mind-blowing gruesome spectacle. Yet, Sweeny Todd didn’t grab me completely. Something was off.

It wasn’t the acting. Johnny Depp is deliciously cast as the title character. His sorrow for his wife plays just as perfectly as his diabolical vengeance. Whether he is singing to his blades or dancing with Helena Bonham Carter, Depp commands our attention in every scene. I even enjoyed his singing voice. Bonham Carter is equally fiendish as the scheming Mrs. Lovett. Her character compliments Todd well as they hatch their evil plans. I always enjoy seeing Alan Rickman on the screen and he definitely does not disappoint. There is not much humour found in his role, but he is still fun to watch. Just as entertaining is Sacha Baron Cohen (Borat) as the scamming barber, Pirelli. Even the smaller roles are nicely cast. Ed Sanders, who plays Toby, Pirelli’s Artful Dodger, has a beautiful voice. My only complaint in the casting department was Timothy Spall as Beadle, probably because he looks and acts so much like his Wormtail character from Harry Potter.

It wasn’t the style. The art direction for Sweeny Todd is amazing. The London streets are darkly menacing, the clothing is prim and proper, the faces are drained of colour. It reminded of Sleepy Hollow, especially in the colour scheme. Johnny Depp and Helena Bonham Carter’s deathly white faces seemed like a cross between Edward Scissorhands and Christopher Walken’s demonic horseman from Sleepy Hollow. The shops, both barber and meat pie, are wonderfully made and have a character all their own. An early zip through the alleys of London make it very clear that Tim Burton was the right man for the job when it came to adapting this dark musical.

It wasn’t the story. Of course, when you describe the plot to people unfamiliar with the musical, they look at you with unmasked disgust on their face. A vengeful barber slits the throats of patrons and then dumps them to a baker who grinds them up into meat pies. Yum. Let’s get this straight, Sweeny Todd is not a film for children. It’s rated R for a reason. Even my desensitized self had to look away for a couple scenes and whisper, “gross.” However, the rest of the scenes where blood is gushing out of the jugulars of Todd’s clients are strangely and morbidly beautiful. This is not Saw-style gore; the thick, fake blood against the array of white clothing create stunningly sharp contrasts despite it’s gruesomeness.

What was off for me when it came to Sweeny Todd were the songs. I’m not talking about the singing, I’m talking about the music and lyrics. I’m a big fan of musicals. I enjoy the rat-a-tat of a quick verse or the harmony found in two people singing different lyrics. While I have no problem with heartfelt solos, I definitely enjoy the larger musical numbers that mix story with clever humour. Sweeny Todd only has a couple of songs that made me smile with their fun lyrics. Mrs. Lovett’s “The Worst Pies in London” is a fun introduction, “Pirelli’s Miracle Elixir” is quick laugh and the Todd-Lovett pie-ingredient song “A Little Priest” is cleverly hysterical, but I wasn’t humming these songs to myself while walking back to my car after the show. I just don’t find these songs all that memorable. Granted, Stephen Sondheim doesn’t adhere to the regular song styles of musicals like Hairspray or Chicago, but while his West Side Story music is difficult, a lot of people seem to know the lyrics to “I Feel Pretty.” I just wish I could have gotten more into the songs of Sweeny Todd being a musical and all.

So should you see this movie? Well, if you’re a Johnny Depp or Tim Burton fan, you will enjoy their latest collaboration. If you enjoy the musical Sweeny Todd, you will not be disappointed by this adaptation. If you go to the film expecting something like Hairspray, you’ll be in for a gruesome shock. I’m a Depp-Burton fan, so I enjoyed it. I can’t wait to see what they do next.

Upcoming movie reviews: Juno, Walk Hard

Charlie Wilson's War

Up until last week, I would have to say that Charlie Wilson’s War had a terrible advertising campaign. I hardly saw any TV commercials, movie previews or even posters for this film. Of course, I didn’t need to view any footage to make me eager to see it, I only had to look at the three names attached: Hanks, Roberts Sorkin. Add in Philip Seymour Hoffman and the fine directing of Mike Nichols (The Graduate, Closer) and you’ve got the makings of a can’t-lose picture. Of course, the subject matter has to do with war in Afghanistan but who cares when these phenomenal artists are involved. There’s not even that much action in this film but again, who needs it with this type of pedigree.

If you’ve read my television reviews, you’ve probably picked up on the fact that I love everything Aaron Sorkin writes. He has this great ability to make meetings, briefings, and day-today operations highly entertaining. When watching Charlie Wilson’s War, you’ll definitely be reminded of the sharp dialogue found in many a West Wing episode. Of course the story is based on the non-fiction George Crile book of the same name and while is seems like many of the scenes have been over-exaggerated, they are pretty close to what really happened. Tom Hanks secured the movie rights soon after the 2003 publication but he thought it was too outrageous for the screen. Enter Aaron Sorkin who kept most of the craziness in his adapted screenplay and added that extra punch of dialogue. Of course it helps to have his clever exchanges coming out of the mouths of Tom Hanks, Julia Roberts and Philip Seymour Hoffman.

Tom Hanks beautifully channels the party-all-the-time demeanor of Texas congressman, Charlie Wilson. It’s interesting to note that other than Jim Lovell in Apollo 13, Hanks has never played a real-life historical figure on the big screen. Of course, Charlie Wilson is an unlikely hero with all his boozing and womanizing but Hanks makes him a treat to watch. The other treat in this film is the superb acting from Philip Seymour Hoffman. His surly CIA operative is hysterical with his quick comments and matter-of-fact candor. The best part of Charlie Wilson’s War is any scene that has Hoffman and Hanks sharing the screen. They are a fantastic comedy duo. There is this one scene when Wilson first meets Hoffman’s Gust Avrakotos (while trying to cover up a past indiscretion with the help of his Charlie’s Angels-type assistants) that is perfectly timed and carried out. I would have to use the word ‘gleeful’ to describe my reactions while watching this scene. It was the perfect mix of writing and acting. It’s one of my favourite scenes of the year.

Julia Roberts didn’t do much for me in this film. She still looks great in a bikini, and while it was fun to see her in this fun, over-the-top role, I didn’t think her scenes held up as well as the Hanks-Hoffman ones. Her verbal sparring with George Clooney in Ocean’s 11 packed a lot more punch than her ones with Hanks in this film. It seriously seemed like she was added to the cast as eye candy and awards bait. Speaking of eye candy, Amy Adams (Enchanted, Junebug) is fun to watch as Charlie Wilson’s efficient administrative assistant.

Like I said before, there is not much action in this film about the collapse of the Soviet occupation of Afghanistan, but the conversations more than make up for it. Even though the movie takes place in the early eighties, you can start seeing the long-ranging effects on America today with their occupation of Iraq, but it’s only quietly expressed in side comments here and there. More recent films like Rendition, Lions for Lambs and The Kingdom have turned some people off with their comments on the current war situation, but this one shouldn’t offend. It’s further removed but still makes you think. I like movies that do that. You should see this film. If you liked West Wing, I’m sure you’ll love Charlie Wilson’s War. It goes down easy, like most of Wilson’s drinks.

Upcoming movie reviews: Sweeny Todd, Juno, Walk Hard

I Am Legend

When writing movie review blogs, I try to stay away from spoilerish material; I’d hate to keep adding spoiler alerts to a column. So, I will try and do the same with this review of I Am Legend. So how do I tell you what bothered me about the film? Let’s just say, the last half hour or so lost its grip on me and leave it at that. Telling you why would ruin too many things for the average moviegoer. Luckily there is still plenty to talk about.

Will Smith is an amazing actor. You can tell that he is a man who works hard at being the best actor he can be. It seems so easy to dismiss Smith as just another action hero; he has made a living off saving the world time and time again. But Smith injects a lot of emotion into his roles. His work in such dramatic fare as Ali and The Pursuit of Happyness has rubbed off on his action flick roles. Sure, it’s Will Smith against an army, just like I, Robot and Independence Day, but he is able to infuse this role of Dr. Robert Neville with a wonderful mix of humour, seriousness, bravado, strength, intelligence and fear. Like Tom Hanks in Castaway, Will Smith has the charisma to keep audience members engrossed without a large supporting cast. This movie is definitely a credit to his hard work.

The other amazing actor in I Am Legend is Abbey. She plays the faithful German Shepherd who keeps Smith company on the desolate streets of New York. Not only is this dog incredibly cute, but she also packs some emotional punch. The moments between Abbey and Smith are priceless; any dog owner or dog lover will instantly relate to the connection between man and his dog.

Despite the amazing performances of these two, it’s the shots of a dilapidated and overgrown New York that gets the most stunned reactions. The emptiness is very reminiscent of 28 Days Later, with garbage-strewn London locales replaced by New York City landmarks overrun by tall grass and animals. Now, I haven’t seen the LA locations used in the similar Omega Man with Charlton Heston, but New York seems like the perfect place to set this post apocalyptic story.

The action sequences are pretty well done but nothing too extraordinary. I Am Legend is directed by Francis Lawrence, whose previous credits include Constantine and various music videos by Janet Jackson and Britney Spears. The attack scenes are pretty much carbon copies of I, Robot and 28 Days Later, so nothing there is fresh, but what Lawrence excels at is creating suspenseful moments throughout the film. He definitely knows how long to stretch the silence before shocking us with something or other (remember, I don’t wanna ruin things).

Again, things fall apart in the last half hour, and that’s all I’m going to say about that.

So, is this a movie to see in the theatres? You bet it is. Will Smith’s lone figure among the giant building of New York needs to be seen on the big screen to totally appreciate it’s scope. Are you going to have questions about plausibility and such? Probably, but not enough to ruin the experience. Are you going leave the theatre, impressed with Smith’s performance? I would be shocked if you didn’t. And if all this doesn’t make you want to see it on the big screen, the first preview was for The Dark Knight, which showcases Heath Ledger’s Joker with such creepiness that it would make Jack Nicholson want to hide under his loud purple jacket. Now, are you convinced?

Five Shows You Should Own

While many people are updating their DVD libraries with Blu-ray and HD-DVDs, there are still many consumers with a fondness for buying television series on regular DVD. If you go to Best Buy, you’ll see that the TV DVD section has grown exponentially over the last year. There are some great series out there that people may have overlooked in the past. I’ll try and compare them to some newer shows, but I whole-heartedly back these five shows up.

Sports Night
For those who love West Wing and Studio 60 on the Sunset Strip, this is Aaron Sorkin’s first television masterpiece. This series was on ABC for two seasons and while it was critically acclaimed, the general public ignored it. The show is a behind-the-scenes look at the cast and crew of the third-rated sports network and stars Peter Krause and Felicity Huffman (currently on Dirty, Sexy Money and Desperate Housewives). Here you can see the original walk and talk that made West Wing’s style so popular. True, the first few episodes have an annoying studio-insisted laugh-track, but the show quickly lands on its feet. The last few episodes do a wonderful job mirroring the series own demise with some fantastic self-referential plotlines. This is a must-have. Trust me.

Wonderfalls
For those who love Pushing Daisies and Dead Like Me, this is Bryan Fuller at his sardonic best. Fox didn’t give a chance to this imaginative story about a sarcastic souvenir shop worker who is told to do things by knick-knacks in her store. People are brought together and mysteries are solved but Jaye don’t know if she’s hallucinating or not. Lee Pace (Ned on Pushing Daisies) appears in this series as Jaye’s older brother. This show has a fun edge to it and is not as schmaltzy as Pushing Daisies. This short series is just plain fun.

Extras
For those who love the original British version of The Office, Ricky Gervais is back as a movie extra who is trying to make it bigger in show business. The show centers on three individuals instead of an entire office staff, but this one allows for Gervais to have fun with other celebrities. The first episode has Ben Stiller directing a serious drama and yelling at a child. Episodes in the second/final season feature Daniel Radcliff hitting on anything that moves and Orlando Bloom getting shot down by an extra. This is really funny stuff.

Firefly
For those who love Buffy and Angel, this is another Joss Whedon hit (like you didn’t know). You say “space-western” and people look at you funny, but darn it all, Whedon pulls it off. There’s horses, saloons, space ships, prostitutes and loads of humour. Adam Baldwin (currently on Chuck) is wonderful as the menacing Jayne, while Nathan Fillion (currently on Desperate Housewives) is the picture-perfect Han Solo-ish captain. After you watch the series, go out and buy Serenity, the feature film follow up to the series. It’s too bad not enough people gave it a chance when it first came out.

Curb Your Enthusiasm
For those who love Seinfeld, this is ultimate follow-up. This show is basically about George Costanza to an exponential degree. Larry David (who George was primarily based on) basically plays himself as he goes through his day questioning every social custom imaginable. A lot of the script is improvised, so it sounds pretty authentic when the actors speak. Just imagine Seinfeld without Kramer and with a lot more foul language and awkward moments. There are six seasons available, each with ten episodes. You should start collecting.

Some other harder-to-find quirky television series that will definitely make you laugh with their irreverent and random cartoonish humour are Robot Chicken and Harvey Birdman: Attorney at Law. And don't forget about the competitive antics of Kenny vs. Spenny. A Canadian classic with three seasons available.

Hope this helps.

By the way . . .

I haven’t forgot to blog, I just haven’t seen any films in the past couple of weeks. Honest. I was going to see The Golden Compass and Mr. Magorium’s Wonder Emporium, but the mediocre reviews and poor word-of-mouth have kept me away. This is the quiet before the Christmas movie storm. In the next three weeks I have a lot of films to watch, including: Juno, I Am Legend, Sweeny Todd, Charlie Baker’s War, Walk Hard and possibly I’m Not There, There Will Be Blood and The Diving Bell and the Butterfly. It’s going to be a busy winter. Of course, at the end of the year I’ll have my top ten movies (which is getting pretty hard to make). I have already figured out my top ten television shows of 2007 and I’m eager to let you know. But we’ll all have to wait until the end of the year approaches.

By the way, this site got over the 1000 hits mark recently (I started counting in the last week of August 2007). Thanks for reading.

No Country for Old Men

Talk about a comeback for the Coen brothers. Joel and Ethan Coen have given us some of the most interesting films of the past decade. They went from The Hudsucker Proxy to Fargo to The Big Lebowski to Oh Brother, Where Art Thou to The Man Who Wasn’t There. I love all of these films. They floundered a bit with George Clooney’s Intolerable Cruelty and Tom Hanks’ Ladykillers, but they are definitely back to true form. Of course, up till now, Fargo was considered their masterpiece; but their newest film, No Country for Old Men gives it some serious competition.

The Coen brothers wrote the screenplay based on the novel by Cormac McCarthy which is different for them since they are used to writing their own original material. Now I haven’t read the novel (big surprise), but the movie is supposed to be a pretty faithful adaptation. What’s interesting is that the film is still distinctly a Coen brothers movie in their unique filming style, fascinating characters and engaging storyline. These guys know how to perfectly mix suspense, drama and humour. As a video editor, I truly enjoyed watching the brilliant cutting of this cat and mouse chase across Texas.

What I found fascinating about No Country for Old Men was that it almost seemed like two different styles of filmmaking. The Coen brothers take their time in the first half of the film. The pace is slower but not annoying like some other films. We are treated to some Fargo-esque atmosphere with the dust replacing the snow. There is hardly any dialogue in the first half as we are treated to character introductions and the silent chase between hunter and prey. The second half speeds up. The editing forces us to imagine some of the killings. We are shown a larger variety of interesting characters. And the timeline begins to jump further ahead. Keeping the pace is the beautiful cinematography work provided by Coen brothers regular Roger Deakins. I loved how much attention was given to boots in this film. There are some inspired shots of boots among scuff marks, blood creeping towards a pair of boots and the slow removal of boots to reveal some ghastly wound. Deakins’ lighting is also masterful when it comes to scenic wilderness shots or the perfect silhouette.

Of course, what will grab most people, and probably stick with them for a while, is the chilling performance of Javier Bardem (Before Night Falls) as Anton Chigurh. I know I’m not the first to say this but Chigurh is the best villain since Hannibal Lechter. During his first kill on screen, Bardem makes a face that is so disturbing, I still see flashes of it in my mind. Chigurh is one of those psychopaths who always remain calm whether it be mowing down victims with his high-powered air gun or having a quiet discussion on keeping one’s promises. Bardem is a treat to watch and should be getting a nomination come Oscar time. I also have to say that his haircut is simply dreadful.

Josh Brolin is having a great year. He has made some smart choices with a role in Grindhouse’s Planet Terror and American Gangster. Now he plays a clever hunter who foolishly thinks he can get away with walking off with two million dollars. With the unfortunate name of Llewelyn, Brolin hold his own while trying to escape from Bardem’s Chigurh. All his actions are purposeful and create a rich character without having to use much dialogue.

Tommy Lee Jones is perfectly cast as Ed Tom Bell, the local sheriff who has a hard time adjusting to the violent state of the world. Jones is at his best when he is sharing his vast knowledge with others, namely his deputy played by Garret Dillahunt (Damages, John From Cincinnati). The narration of Jones pulls the whole film together with his commentary on violence and how things have changed.

Like most Coen brothers films, each character is fully drawn and given a chance to shine; gas station attendants, motel owners, border guards and boys on bikes are given fun lines and deemed just as important as the main characters. Woody Harrelson puts in some time as a slick bounty hunter and I wish I could have seen him more in this picture. I love his drawl.

No Country for Old Men has everything going for it: acting, script, cinematography, lighting and even sound design. This is a must see movie, assuming you can stand some brutally violent scenes. I’m thinking that No Country for Old Men is the current benchmark for how a suspense film should be done. This is a movie that will definitely stick with you long after the silent credits roll.

Lions for Lambs

I still don’t know what to think of Lions for Lambs. Since I saw it yesterday, my mind keeps returning to some of the questions raised in the script, so I guess it worked in that aspect. Lions of Lambs definitely doesn’t give you answers but it does make you think, if you’re willing to let them in. The critics have been pretty harsh on this film, but that has to expected with something this politically charged. Probably the biggest complaint, however, is how these questions are presented through alot of static sitting and talking. It is for this reason I think Lions for Lambs would have worked ten times better as a play.

There is a lot of talking in this film. I was trying to think another film that involved this much sitting and discussion. All I could come up with was Jarmusch’s Coffee and Cigarettes, but that one had more vignettes and dealt with more inane, yet entertaining, chatter. The two main (and best) storylines are basically interviews that cover the gullibleness of the media, the “must-win” attitude of the government and the youth’s apathetic response to the war. The acting is superb. Tom Cruise is perfectly cast as a slick Republican trying to sell his version of the war to a doubting, yet shrewd, journalist played by Meryl Streep. Their cat and mouse dialogue is a treat to watch; I loved watching them attack each other but remaining respectfully polite. Robert Redford, who also directs this film, plays a college professor who tries to gage the commitment of an absent student, played surprising well be newcomer Andrew Garfield. Imagine getting the opportunity to sit in a room alone with Redford for probably five days of shooting and holding your own against this Hollywood icon. Garfield graduated from a drama school three years ago; talk about scary. Maybe it’s this freshness that works so well in this scene. As a teacher, I enjoyed watching Redford’s tactics as he tries reasoning with this indifferent student who possesses great potential. With Redford and Garfield showing differing age responses to the war, I wondered where I would fit on the spectrum.

The third storyline in Lions for Lambs, falls a little short for me despite the great performances by Derek Luke (Antwone Fisher, Glory Road) and Michael Pena (Crash, World Trade Center). As students who ignored Redford’s sage advice and joined the army, we are shown a frontline response to war as compared to the other armchair politic storylines. What worked in this story that dealt with stranded soldiers, was the flashbacks to their college days in Redford’s class trying to show skeptical classmates how one man can make a difference. The scenes in the field seemed a little too manipulative to me. In fact, most scenes that were shot outdoors seemed too calculating. There is a shot of Meryl Streep at the end of the film that is completely unnecessary and took away from her storyline. The movie played best when it was just two people talking to each other. This is why I think it would work way better as a play. A morality play at that.

Lions for Lambs was written by Matthew Michael Carnahan who also penned The Kingdom script (hence the appearance of Kingdom director, Peter Berg). Carnahan, obviously, has a lot of opinions surrounding the current wars going on in the Middle East. I found his thoughts much more refreshing in this piece. Redford does a great job directing his actors. There is not much action in this film, but the questions are put forth nicely. I also love that the answers are not given out. The audience is forced to adopt their own opinion as certain characters struggle to make their life-changing decisions.

So what bothered me the most were the manipulative elements thrown in at the end of the film. Only one storyline ends perfectly while the other two try to control your emotions. If you watch the film, I’m sure you’ll know which one I liked. I also hated the images done for the closing credits; the poorly conceived Without a Trace disappearance act almost put a bad taste in my mouth as I left the theatre. See, you wouldn’t get this in a play. If Lions for Lambs was done as a theatrical drama, you would walk away with the powerful questions instead of the manipulative images. Maybe Broadway will listen to me.

I would wait to see this film on DVD. I would see this film with a bunch of people and make time for a discussion afterwards. It would be great if people could use Lions for Lambs as a catalyst to start exploring their own opinions on government, media, military, terrorism, youth, education and responsibility. Hey, it got me thinking.

The Strike

Six days and counting. I get the feeling that the WGA strike won’t be ending anytime soon; and while this will seriously affect my favourite television shows, I am rooting for the writers every step of the way. In a time where we are subjected to crappy reality shows polluting the airwaves, we need to take the time to appreciate the well-crafted, sharply written series. Here’s the lowdown, as I’ve heard, concerning the strike.

Why are the writer’s striking? Mainly, the studios are not paying writers fairly or at all when it comes to rerunning television episodes online. The studio makes big money off the ad spaces; the writers get squat. The studio lawyers have found a loophole that suggests that a webisodes (like the ones The Office made two years ago) is a promotion tool and not an actual episode. The writers also want some more money when it comes to DVD sales since studios keep releasing each show and film a billion times with different special editions.

Why won’t the studios budge? If they give in to the writers, they will have to do the same for the actors and directors when their contracts expire next June.

How is the strike going? The writers have gotten a lot of support from the actors and those involved in the day-to-day running of television shows. The biggest support has come from the showrunners (producers who are often writers themselves.) who refuse to cross the picket lines. These producers understand that all the editing and filming are just an extension of the writer’s script. Unfortunately, the studios have threatened to fire some these showrunners if they refuse to do their producer duties. Imagine JJ Abrams getting fired. The studios need to make sure they don’t back themselves into a corner creatively. The biggest problem is that both sides refuse to meet and discuss. It’s hard to end a strike this way.

How does the strike affect you, the television viewer? Well you might have noticed that late-night talk shows and the upcoming SNLs will be in repeats until the strike ends. That’s what happens to shows that deal with current events.The soap operas are written well in advance, so they should be good until January or February. So you can still get your Days of Our Lives fix. Most current television shows have enough episodes to make it to early December when reruns would happen anyway over the Christmas break. And some shows have scripts for more episodes but the kicker is that some actors are also writers. A good example is The Office where Steve Carell (Michael), BJ Novak (Ryan), Mindy Kaling (Kelly) and Paul Lieberstein (Toby) are part of the Writers Guild of America. They are refusing to film anything. Of course, the studios will threaten them, but who really has the guts to give Steve Carrell a pink slip?

What happens when a network runs out of scripted shows? Any and every reality show conceived will make it on the airwaves. Among the regulars like American Idol, America’s Next Top Model and Dancing with the Stars, there are ones called Farmer Takes a Wife and My Dad is Better Than Your Dad. Sigh.

What about 24 and Lost? Well Fox said that they’ll be delaying the premiere of 24 so that the show will run uninterrupted from start to finish. They have a handful of episodes done, but Fox will wait it out. Lost is a different story. They have 8 episodes completed of their 16-episode season. ABC will run the first eight episodes in February on its own if the need arises. Luckily, producer Damon Lindelof (also on strike) says that the eighth episode ends in a cliffhanger so it’ll seem like a natural stopping point anyway.

What about movies? The big studios have stockpiled a bunch of scripts and are racing to get things filmed by June when the actors and directors are up for renegotiation. If the writer’s strike isn’t settled by then, you can expect the actors and directors will join them on the picket line. We should have movies until late next year so you can still count on The Dark Knight and Indy 4 this summer.

How long can this strike last? In 1998, the writer’s strike lasted five months which delayed the fall season by several weeks. Who knows how long this one will last? I am all for well-written scripts but it’s going to be a scary time in a couple of months. Let’s just hope the talks resume.

Where did you get all this information? Entertainment Weekly explained it well and there's some helpful info at Zap2it.com (http://blog.zap2it.com/frominsidethebox/2007/10/what-a-writers-.html).

Let the panic begin this January.

Bee Movie

I always get a little worried when I see a movie getting over-hyped. With many of the summer blockbusters and Christmas flicks, this constant barrage of commercials and tie-ins start to make me think that the worried studio needs this extra pull before the critics begin with their negative reviews. While I thought many of Jerry Seinfeld’s mini Bee Movie shorts on NBC were funny, it felt a little desperate. I’m surprised he didn’t go door to door. But apparently, Jerry and Dreamworks felt that their cartoon was that good. And I am inclined to agree with them. Mostly.

I’m pretty confident in saying that Bee Movie is the best cartoon that has been put out by Dreamworks. If you have read my previous reviews, I have not been a big Shrek fan and let’s not even consider Shark Tale. Not only is Bee Movie more intelligent and fun, but the animation looks a lot more crisp than the studio’s previous efforts. Now is Bee Movie better than Pixar’s fare? No. Pixar is still the reigning champ when it comes to animation and story, but Bee Movie is a step in the right direction. If this studio can keep this kind of talent in the writing room and animation wing, it may have a chance at giving Pixar a run for their money.

When watching Bee Movie, you can tell that Jerry Seinfeld had a big hand in making it. While he provides the voice for Barry B Benson, our film’s protagonist, he is also one of the four writers. His patented observational humour is nicely sprinkled in with the sight gags, puns and clever quips. I would also venture to say that Bee Movie is probably one of the most sarcastic kids films I have ever seen. There seems to be a lot more jokes aimed at the adults rather than the kids. If I were a young kid watching this film, I would probably enjoy the bee hive sequences and some of the bee interactions with humans, but a lot of the film, (especially the courtroom scenes) would go over my head. I’m guessing most nine year olds haven’t seen Goodfellas or know who Ray Liotta is. But it made me laugh, so should I really care about the intended audience? Unlike Shrek, which I sometimes found inappropriate for kids, Bee Movie just seemed a little too clever for its own good.

Maybe it’s because I enjoy watching Seinfeld, but I found myself forgiving a lot of flaws that would normally rile me up. The story kind of veers all over the place; it starts off with work and relationships and then dramatically shifts to justice and environmental issues. But I forgave that. Bee Movie seems to revel in its stunt casting with everyone from Seinfeld alums Puddy and Kramer to Chris Rock and Oprah Winfrey. But I forgave that. Actually, I spent a bunch of the movie playing “guess the voice-over.” Bee Movie stars Renee Zellweger. But I forgave that. The film also had a slightly creepy love story between a bee and a human. Okay, I can’t forgive that, I still find it weird and off-putting.

Bee Movie was a lot of fun. I would see it in theatres just to appreciate some fine animation and clever writing. You know, I would love to hear what children think of this film. They wouldn’t have this pre-conceived notion of Jerry Seinfeld and his type of humour. Maybe you should take your kids to see Bee Movie and then drop me a line and tell me what they thought. By the way, I am proud of the fact that I managed to write this review without resorting to bee puns. You’re welcome.

In case anyone is keeping count. This is my 100th blog._________(Send presents.)

American Gangster

You hear that buzzing sound? No, it’s not Bee Movie. It’s Oscar and that sound can be heard loud and clear all through American Gangster. Okay, that sounded better in my head. Let’s just say that come Academy Award time, there will plenty of love shown to American Gangster. Just putting Denzel Washington and Russell Crowe together seems brilliant. (Which is funny, because these two starred in Virtuosity twelve years ago and that one flopped.) But add in director Ridley Scott and you’ve got the makings of a classic American film. While watching the film, I was reminded of The Untouchables, Heat and The Godfather, and that’s not bad company to be around.

Of course, the reason to watch American Gangster is to see the powerhouse performances of two Hollywood heavyweights. While they both are captivating whenever they are on the screen, I think Denzel comes out as the winner. Maybe it’s because Washington’s portrayal of real-life Harlem druglord, Frank Lucas, is so finely tuned. Washington commands the screen every time he is on it. There’s a level of strength, confidence and preciseness that is almost mesmerizing. We know that Denzel can play the bad-ass thanks to Training Day, but here we see a very calm family man with bursts of violent rage. He draws you in before ripping the rug from under you. You can tell that Washington is having fun in this commanding role.

Russell Crowe is no slouch in American Gangster. Well, maybe appearance-wise, but not acting-wise. After 3:10 to Yuma, it appears that Crowe is having a great year. Playing Ritchie Roberts, the dogged cop determined to take down Lucas and subsequent corrupt cops, Crowe has some great speeches throughout the film. Seen as the only truly honest cop on the force, I find myself rooting for Roberts just as much as I’m rooting for Lucas. Crowe has a great disheveled look and makes me glad I never had to wear clothes like that.

Keeping up with Washington and Crowe are some other fine actors. I’m loving the choices of Chiwetel Ejiofor (Serenity, Children of Men). He does a great job as Frank Lucas’ pimped out brother Huey. Josh Brolin is perfectly slimy as corrupt cop, Det. Trupo. I’ll even forgive the writers for making him do the most cliché villainous act near the end of the film. I was most shocked by the performance of Ruby Dee as Mama Lucas. She has this one scene with Washington that screams Oscar nomination.

The writing is pretty crisp in American Gangster. There is some profound advice given throughout the film and almost every word out of Denzel’s mouth is the pinnacle of slickness. Of course, some the best dialogue comes with the long-awaited meeting between Washington and Crowe. Like Pacino and DeNiro in Heat, these two professionals pull out the big guns and hit their scene out of the park. (Sorry, for the mixed metaphor.)

The only thing detracting from this film is its length. Now unlike other films, I do believe they need each minute to tell the full story , but is does get a bit uncomfortable at 157 minutes. Luckily, the big scene is near the end, so I didn’t mind my butt being numb for the sake of great acting. This is one you’re going to want to see on the big screen. People are going to be talking about this one. This is the current front-runner for best picture. Like The Departed last year, American Gangster is the pitch-perfect film with a gritty story and phenomenal performances. There’s that buzzing sound again.

The Darjeeling Limited

I was reading some reviews of Wes Anderson’s new film The Darjeeling Limited, and someone had the balls to say that it was too much like Anderson’s previous efforts. We should be so lucky. Wes Anderson is truly gifted when it comes to filmmaking. His stories have meaning, his visuals are playful and engaging, his points of view are outstanding and his characters are quirky, and not just for quirky sake as many copycats have done. In Royal Tenenbaums and Life Aquatic and even Rushmore, Anderson dealt with a large cast of characters that beautifully demonstrated the many different strands of human nature. With The Darjeeling Limited, like Bottle Rocket, Anderson focuses on less people to really explore human emotion fully.

Before watching The Darjeeling Limited, the audience is treated to Anderson’s short film Hotel Chevalier starring Jason Schwartzman and the amazing Natalie Portman. The thirteen minute scene beautifully shows the end of love in both its quiet moments and its sharp dialogue. Not only is this film great on its own, but it wonderfully sets up Shwartzman’s Jack character in The Darjeeling Limited. I almost wish that Anderson made two more short films to set up the other brothers.

The actors in this film are phenomenal. Owen Wilson plays the controlling oldest brother, Francis. With lists, questions and promises, Wilson hilariously takes on a fatherly role despite his brothers’ objections. While his head bandages were distracting at times, they served the film as a metaphor of his injured spirit. Justified quirkiness at its best. Jason Schwartzman quietly and strangely plays the youngest brother, Jack, who is drawn to love to fill his void. Not your typical romantic lead, Schwartzman’s ‘smooth’ moves reminded me of his Rushmore days hitting on Rosemary. Rounding out the trio of brothers is Wes Anderson newcomer, Adrien Brody (The Pianist, King Kong, The Village). Brody perfectly plays the middle child, Peter, with his contempt for his older brother and his condescension for his younger brother. His selfish nature is wonderfully shown through his kleptomania and a wonderfully told flashback sequence. These three actors are amazing and fun to watch as they go on their spiritual and emotional journey.

Like all Wes Anderson films (this one also written by Roman Coppola and Schwartzman), The Darjeeling Limited uses metaphor, quirks, clever one-liners and fascinating characters to tell his story. I do find it interesting how most of his stories deal with rich individuals who have a hard time expressing themselves. While the spiritual journey begins on the train, it doesn’t truly get started until long afterwards. Even when you think they have learned all there is to know, Anderson takes you even further. Sure, you may see through the symbolism behind the large amount of baggage that gets carried around throughout the film, but there are plenty of subtle symbolic details also thrown into the storyline.

Along with great acting and a compelling story, The Darjeeling Limited is wonderfully filmed. Anderson has a unique point of view when it comes to his camera work. His close-ups, slow-motion and tracking shots are par for the course, but in this film he also excelled at panning. Each pan of the camera is for a specific purpose. Sometimes it’s played for laughs but many times it shows growth with each movement of the camera. Of course, it helps the film to be shot using the brilliantly colourful setting of India. The landscapes, the building and even the people bring a heightened sense of beauty to this film.

I love Wes Anderson pictures, so I obviously think everyone should see his next chapter of great filmmaking. Granted, The Darjeeling Limited is hard to find, since it’s not playing at every big theatre, but I feel it is definitely worth your time. With great acting, great cinematography and great storytelling, how could you go wrong? And if that’s not enough for you, Bill Murray is in it.

Dan in Real Life

Watching Dan in Real Life is the equivalent of being curled up on the couch eating comfort food. I can totally see people doing just that once this film comes out on DVD. Dan in Real Life is nothing profound or pretentious; it’s not a study of exceptional acting or cinematography, but it’s not crap either. With all these Oscar worthy films coming up, it was kind of nice to clean the slate with this charming story.

The plot of Dan in Real Life is pretty standard. Among some touching moments hear and there, it definitely has a sitcom feel to it. In fact, during the film, I was reminded of the Friends story arc where Chandler was in love with Joey’s girlfriend causing him to pine for her, cross the line and end up spending Thanksgiving in a box. The storyline of Dan in Real Life is pretty predictable with all its convenient situations and tidy ending. Maybe that’s what made it so comfortable to watch; I didn’t have to think all that much. One of the things that I found strange however is the use of the bowling alley to show the playful side of love. Did the Bowling Association of America strike a deal with Hollywood? I haven’t seen this much bowling since Kingpin or the TV show Ed. This fall alone bowling is featured in Across the Universe, Lars and the Real Girl, Martian Child, and Dan in Real Life. I guess there’s a whole new bowling craze sweeping across the America.

Dan in Real Life is written and directed by Peter Hedges who also gave us the charming Hugh Grant piece, About a Boy. In both films we see that Hedges is quite adept at making realistic relationships between children and adults. The three young girls in this film were great. Alison Pill plays the oldest daughter who tries to be the only responsible member of the family. Brittany Robertson is the passionate middle child who yells out all the things parents don’t want to hear. Marlene Lawston (Flightplan) is the youngest who is not only cute as a button but also shows a vulnerability that will tug at your heartstrings.

Of course, Steve Carell gives another great performance. He gets to play up the slapstick while still engaging us in the character’s tragic life. It’s hard to compare his character of Dan Burns to anything he’s done previously. Dan is not over-the-top or wonderfully subtle, he just exists beautifully in this sitcomy world. The other actors in the cast also do a fine job. I found it weird that Juliette Binoche (Chocolat, The English Patient) would do this type of film, but she gives a pleasant performance as Marie, the love interest. Dane Cook is tolerable in this movie; it may even make you forget his work in Good Luck Chuck.

With some nice camera work here and there, some fine acting, some great comedic and heart-warming moments and a short running time, Dan in Real Life is an enjoyable, comfortable film. This is one for the DVD player on a night where you don’t want to think too hard and just relax. It’s nice to have these breaths of fresh air now and again.

Fearless 2008 Fall TV Prediction

While I’m loving the new shows Pushing Daisies and Dirty Sexy Money this year, I will share my prediction for the best new show next fall. It’s called Dollhouse. How do I know it’s going to rock? Its creator is Joss Whedon (Buffy, Angel, Firefly) and it stars Eliza Dushku (Buffy, Angel, Tru Calling). Need I say more? Maybe a little. It’s a sci-fi drama. Unfortunately, it’s on Fox so it probably won’t last that long. Already looking forward to next fall. I’m giddy with excitement and anticiaption. By the way, I'm loving the Buffy Season 8 comics. Angel Season 6 comics are coming soon! I'm in Joss Whedon heaven. Please forgive the fan-crush.

Summer Show Wrap-Up

I know, I know, it seems a little late to be talking about shows that premiered over the summer, but one of the shows just had its finale last week. So in this blog, I’m talking about three awesomely original series that debuted this summer. Over the summer, I also caught completely up on Battlestar Galactica and Weeds, which are great, great shows but I want to focus on the newer stuff. Here are the three shows that rocked my summer.

Flight of the Conchords was one of the most awkwardly funny things I saw this summer. The premise is basically two folk singers from New Zealand trying to make a name for themselves in New York City. Jermaine Clement and Bret McKenzie pull off the dead-pan humour brilliantly. They can go round and round in circles with the most mundane topics and still make you laugh out loud. Rhys Darby who plays their incompetent manager, Murray, is the most pathetic man, you’ll ever meet. Steve Carrell creates awkward situations in the US Office, Ricky Gervais goes even farther in the UK Office, but Darby trumps them all with his blind devotion and inexperienced professionalism when dealing with the Conchords’ future. Their lone fan is also creepily portrayed by the overly-enthusiastic Kristen Schaal. This small cast has amazing chemistry and the plots will definitely make you laugh and cringe. Of course, the highlight of this half-hour comedy series are the bizarre music videos that seamlessly enter the narrative. Crappy video clichés are lampooned as Jermaine and Bret sing their folk songs that are filled with non-sequitors, strange metaphors and technical definitions. This series was on HBO and Movie Central but it’s coming out on DVD in a couple of weeks. You should definitely try this series out.

I started watching Mad Men when it premiered on AMC in July but stopped after a couple episodes due to pacing. Luckily, I came to my senses and caught up with this well-crafted series. The show is about a Madison Avenue advertising agency in the early sixties with a primary focus on the lead creative director, Don Draper, played by the dashing Jon Hamm. The first thing you notice when watching this show is the amount of smoking that goes on. It was definitely a different time. Through some of the creative ad campaigns and the delving into the businessmen’s lives, there are some fun sixties references for the audience to enjoy. The acting in this show is phenomenal. Jon Hamm plays his conflicted role so effortlessly. It’s also a treat to see Vincent Kartheiser (Connor on Angel) in such a layered and slimy role as the man wanting Draper’s job. It took me awhile to remember Elisabeth Moss, a secretary on the way up, as kidnapped Zoey Bartlet from The West Wing. January Jones and Christina Hendricks are also perfect portraying the women in these men’s lives. But the standout in this series (besides Hamm) is the role of the big boss, played by John Slattery (Ed, Desperate Housewives, Jack & Bobby). Even though this character is an absolute pig, you are drawn in by Slattery’s charm until you start feeling for the guy. I mentioned that the pace was a little slow, but that makes sense when you find out that this series was created by Matthew Weiner, a writer from The Sopranos. So even though, the episodes seem to drag a little, there are definitely some powerful moments, clever dialogue, beautiful cinematography and meaningful messages. AMC will probably be rerunning the first season soon and it was also picked up for a second season next summer. This series is a bit of a challenge but surely worth your time.

The show that just ended last week was a brilliant lawyer series by the name of Damages. Talk about intriguing. This show deals with a lawyer who joins a powerful firm that is trying to take down a corrupt business tycoon. Oh yeah, and that lawyer is being accused of murdering her fiancée. This show has the formidable task of weaving three and eventually four timelines seamlessly together. Through the color tinting of the images and timestamps, the audience is treated to multiple stories at once, while trying to piece the mysteries together. There are twists, turns, red herrings and more and I loved every minute of it. What added to the plot was the flawless acting of its cast. Glenn Close shines as the ruthless lawyer Patty Hewes. This chick makes James Wood’s Shark look like a little puppy. Hewes is a master of manipulating people and Close does a great job not revealing her cards until it’s necessary. Ted Danson plays the corrupt Arthur Frobisher and shows his dramatic skills as an actor. There is no way you would confuse Arthur with Sam Malone from Cheers. Rose Byrne does a great job as the new lawyer who starts the series running down the street covered in blood. Stealing scenes from Close and Danson is the impeccable Zeljko Ivanek (24, Oz) as Frobisher’s slick attorney, Ray Fiske. This guy better get an Emmy nomination this year. His character is so compelling I can’t even describe it. This show had me guessing to the very end and I’m praying that it gets picked up for a second season. Each week I eagerly waited to download it off the internet because it was airing on FX, which we don’t get here in Canada. I hear that Showcase will be running it next month so keep a watch out for that. This show was fantastic. I wish more people could have seen it.

My next blogs will return to the movie reviews. I have Dan in Real Life and The Darjeeling Limited coming up. I’ll also be watching the eagerly anticipated American Gangster and Bee Movie soon. Stay tuned.

Michael Clayton

It all comes down to this question: Is it the story or the acting that makes a film great? Ideally, you want both, but if you had to choose. I guess you have to factor in dialogue as well. I mean look at Star Wars, the story was great and Harrison Ford did the best he could with the cheesy lines written by George Lucas. I’m sure some will disagree. But is the plot that important? In any case, I bring this up because of the acting quality found in Michael Clayton. I found that the story dragged and was not that compelling but the performances were nothing short of awesome.

I find myself constantly impressed with the work of George Clooney. Maybe because of his television roles on Roseanne and ER and even early films like The Peacemaker and One Fine Day, I always peg him as just a pretty-boy actor with a great deal of charm. I think it was his role in Oh Brother, Where Art Thou, that made me reconsider my position. And now it just seems that George Clooney can do no wrong (I’m thinking of films post-Batman & Robin). I don’t think it’d be much of a stretch to say that Clooney does some of his best work in Michael Clayton. He does an excellent job of playing the title role, a law firm “fixer” whose life is falling apart. Clooney portrays a perfect blend of confidence and weakness in many of his scenes. It’s not an over-the-top powerhouse performance that usually garners Oscar nominations but it certainly is a study in subtlety and I hope it does get recognized during this year’s award season.

Tom Wilkinson (Eternal Sunshine of a Spotless Mind, In the Bedroom) seems to be the go-to guy for older characters that are both quirky and intense. Wilkinson has the ability to grab you from his first line. He is able to show such vulnerability in his character almost forcing the audience to empathize with him. I wish he had more scenes in this film, especially considering his chemistry with Clooney. And he’s not the only one who works well with George. If you need a wealthy, no-nonsense mentor in a movie, you can always count on Sydney Pollack (Eyes Wide Shut, Changing Lanes). While Pollack is more known for his strong directing (The Interpreter, The Firm, Tootsie, Out of Africa), he is just as strong in front of the camera. I love watching him on the screen.

The last of the big performances in Michael Clayton, is the face of the evil corporation, played by Tilda Swinton (Chronicles of Narnia, Constantine). I find that Swinton has a very interesting face. In most movies, she conveys such cold-heartedness, and while there are some scenes like that in this film, there are plenty of moments where we can see her Karen Crowder character at the end of her rope. I found she had to walk the same line between confidence and weakness as Clooney had throughout this film. As one of the only females in the film, she definitely held her own among the strong male performances.

My only issue with Michael Clayton is the dragging storyline. Considering this film was written and directed by Tony Gilroy who is responsible for writing the Bourne screenplays, I was expecting a little more action. However, the plot involving some shady business dealings just meanders along as Clooney’s character tries to get to the bottom of the scandal. I had no problem with the plot being simple; it just seemed too long to get to the point. Luckily, I was distracted by the rich dialogue Gilroy gave to his characters. This is definitely a talky film. And that is just fine with me in the hands of these gifted performers.

In conclusion, I would recommend Michael Clayton as a study guide for some great acting. At the same time, I think you should wait for it on DVD and enjoy this drama at home. Of course, if this film should get some Oscar recognition, you may want to see it in the theatres so you can see what everyone is talking about. It may not get screenplay honours but I wouldn’t be surprised if a couple acting nominations arise. We’ll have to wait and see.