Movie review: Thor

Paramount Pictures

You knew summer blockbuster season had arrived when Thor ripped through the May box office and a new superhero franchise was born. Played with charm, humor and bravado by Chris Hemsworth, Thor is a godlike hero based on Norse legends; he comes from Asgard, a mythical dreamy place where his father Odin (Anthony Hopkins) runs the show and Thor is the presumed heir apparent. Only, he’s a little excitable, so when Asgard is threatened by an old enemy he decides to go to war himself, instead of waiting for his father to pursue patient efforts at diplomacy. He gathers up his friends and they set off to wage glorious battle, but soon realize they’re badly outnumbered and Odin has to rush to their rescue. This escapade makes the old man pretty mad, so he strips Thor of all his powers and banishes him to earth.

And then he meets Natalie Portman.

C’mon, people, it’s a comic book movie. It only stands to reason that Thor will fall out of the sky and land right in the path of a beautiful, brainy scientist. Jane Foster feels responsible for the fallen hero because he bounced off her car when he plummeted to earth, and then – in one of the film’s funniest scenes – her assistant, Darcy (Kat Dennings) tases him when he starts ranting on about Earth and Asgard. (“What! He was freaking me out!”). And so the adventure begins, with Thor trying to find his way home, and Jane trying to help him while she tries to understand who he is.

There’s a lot of great comic book style action in Thor, especially on Asgard, but the real fun happens when the young superhero attempts to navigate his way around Earth; even without his powers, he is quicker and stronger than the “puny” humans who surround him, and there is a charming buffoon quality to his efforts to understand propriety in this tiny Western town. He also eats a lot. Thor figures he’ll be in good shape if he can just get his mystical hammer back, but Odin has thrown it to Earth protected by a Camelot style curse: only someone worthy will be able to wield it. In other words, Thor has to learn his lesson; which he does, eventually, but not before he tangles with a shadowy government group that has taken an interest in him and his hammer (they can’t wield it, of course, bureaucrats aren’t worthy). He also has to manage a duplicitous younger brother who perceives Thor’s banishment a grand opportunity to pursue his own ambitions. (Tom Hiddleston plays brother Loki with slick creepiness; you recoil from him but you can’t wait for him to come back on screen.)

If you think summer blockbuster movies are a silly waste of time, this one will not change your mind. It doesn’t stretch the boundaries of the genre, it sits squarely within them. But it’s fun, lighthearted, popcorn stuff, and if you’re in the mood for that well, hit the multiplex. It scored big at the box office so it will probably survive the onslaught of the new Pirates movie on Friday. Playing everywhere. B

Movie Review: Water for Elephants

20th Century Fox

Water for Elephants may one day show up in a film class as a lesson in how not to adapt a popular novel for the screen. Sara Gruen’s 2006 book is packed with unique characters and compelling stories of life in a Depression era circus – many of them based on actual accounts – but screenwriter Richard LaGravanese chooses to ignore most of that and focus instead on the love triangle at the center of the story. Then he runs out of things to do. So we see a lot of Robert Pattinson, playing young Jacob, staring into Reese Witherspoon’s eyes – she’s Marlena, the star attraction under the big top; and then we see Marlena staring into her husband August’s eyes (Christopher Walz, reprising his deranged Nazi role). And then we see August staring from a distance at Jacob and Marlena – well, you get the idea.

It’s a shame. Because the time lavished on the pretty faces of the stars would have been better spent developing the supporting characters, who are pivotal to nearly every important moment in the story. And it’s a good story, opening with young Jacob on the verge of getting his veterinary license and feeling the first stirrings of love, and then losing everything in a moment when he learns that his parents are dead and his inheritance is worthless. Despairing, he hops a train out of town and, quite by accident, joins the circus. He gets permanent work as a vet with the show, but soon discovers that owner August is a sadistic man who is cruel to his animals and his human employees, throwing men off the train if it helps lighten his payroll or soothe his easily injured pride. The troupe bonds together to maintain their spirits and protect each other from August’s wrath, and they take Jacob in, first out of sympathy but then out of respect and hope that he can become their de facto defender and leader.

But you won’t see any of this in the film, or any cohesive version of it, anyway. LaGravenese, along with director Francis Lawrence, seem to find the colorful characters and grittiness of circus life and the desperation of Depression times to be merely background noise to the story, instead of the very thing that gives it depth and authenticity. So the film is a bore. Still playing in lots of theaters but it got trampled by Rio and Tyler Perry’s latest picture over the weekend; don’t expect a long run. C

Movie review: Hanna

Focus Features

This movie has a great trailer. I’ve watched it a lot. We see an ethereal blonde haired girl, blue eyes luminous, gutting a newly killed antelope. A voice behind her says “You’re dead! I’ve just killed you.” And the angelic child suddenly becomes a twisting punching shrieking fighting machine.

Cool.

Hanna has a great premise, the notion of a sweet faced youngster trained to be an elite assassin before her sixteenth birthday. She has lived her life in a remote forest in Finland, where her father (a restrained, but warmhearted Eric Bana) has instructed her in martial arts and survival skills. She can fight with a gun or a knife or a good stout stick, but all this training is very directed: once she comes of age, she needs to assassinate Marissa Viegler, an elite American agent who, according to dad, wants Hanna dead. It’s kill or be killed in this adventure, and once Hanna (played with memorable delicacy and believable toughness by Saoirse Ronan) sets events in motion so she can confront her nemesis, it seems we are off on a rollicking roller coaster ride of a movie.

Or not.  When Hanna leaves the forest behind, when she makes her first assault on the evil crew that wants to do her in and then speeds away into the desert, the tension of the story slips. It appears that Marissa Viegler – played by Cate Blanchett with a cold heart and Texas twang – does want Hanna dead, but we don’t know why, and what’s more, we don’t know what’s at stake. Is Hanna at risk of becoming a mercenary soldier for some nefarious international organization? Could her sweet nature be corrupted by their evil demands? Is there an innocent population at risk? International relations on the brink?

Apparently not. Marissa Viegler wants Hanna dead because she does. She hires henchmen to help her, and they kill people because that’s what they do – the film is full of violence that serves no purpose; it doesn’t heighten the risks or propel the plot. A lot of it isn’t even interesting, the bad guys and their methods are oddly trite. And there are peculiar lapses in logic: early on, we see Hanna staring dumbfounded at a television; a few scenes later, she expertly types search terms into Google in an effort to understand her peculiar genetic make up.  Pretty sophisticated stuff for a kid raised by lantern light in a remote forest.

But mostly what goes on here are chase scenes, punctuated by fights, followed by more running away. There is a charming intimacy to the early moments of the film when Hanna and her father prepare for her entry into the world, where they struggle with their upcoming separation with the kind of mixed feeling parents and children have always had, even if the kid isn’t setting off to assassinate someone. (But why Hanna needs to go off on this mission by herself is never explained. Would it have been so bad for dad to have her back?) The most entertaining part of the movie happens when Hanna meets up with an English family on holiday; they have a teenage daughter named Sophie who takes Hanna under her irrepressible wing. Jessica Barden delivers Sophie’s lines with excellent comic timing, the film is almost worth seeing just for her. But the real star of the show is Saoirse Ronan, who makes Hanna so intriguing and sympathetic you leave the theater hoping for a sequel; one with a more interesting plot. Playing everywhere, had a pretty average box office performance on opening weekend so it may not last long. B-

Movie Review: The Source Code

Summit Entertainment

The Source Code is an entertaining little science fiction film that doesn’t always make sense, but then, science fiction films often don’t. It’s fun to watch, anyway. Jake Gyllenhaal plays Colter Stevens, a soldier in Afghanistan who wakes up to find himself on a commuter train traveling into Chicago. He is the only one surprised that he is there: turns out that a government technology experiment has spirited him out of his war injured body and into the body of another man, a high school teacher who regularly rides this train. Colter was sent there to complete a mission, which he has eight minutes to get right, but like Groundhog Day, that eight minutes keeps playing over and over again until he has an opportunity to figure the mystery out.

Pretty cool, right? Actually, it is. The whole notion of being able to re-live a bit of time, even if it’s only eight minutes, and having a chance to do things better on every go-round is intriguing. Unlike the Bill Murray movie though, this story has an extra layer: the eight minutes that Colter is reliving aren’t exactly real; they represent the “halo” of consciousness left behind when people die, the last eight minutes of their earthly lives. In other words, all the folks on the train, including the poor old math teacher whose body Colter inhabits, are dead, victims of a terrorist bomb.

This is where you don’t want to start asking too many questions.

Jake Gyllenhaal does a bang up job as the bewildered but purposeful young soldier. He doesn’t understand how the Source Code works (either did I; they kept telling this geeky dude to “fire up the drivers,” and he would hit a few keys on a laptop and away Colter would go. Seems like a pretty pedestrian way to power someone into a metaphysical realm.) But Colter does understand that he has a mission to do: it’s his job to identify the guy who blew up the train before the villain goes on to ignite a dirty bomb over the city of Chicago. Train explosion is the past, but the destruction of Chicago is the future, and the military puppeteers who are pulling Jake’s strings are trying to save the city.

So Colter works his way through the train, eight minutes at a time, harassing passengers and rifling backpacks, generally acting deranged, much to the amusement and occasional alarm of his seatmate, Christina Warren (Michelle Monaghan), a young woman who clearly has a crush on the man Colter is supposed to be. And here’s where things get sticky, because after spending say, 40 minutes with this woman on a kind of repeat shuffle, Colter is smitten and he doesn’t want her to die. Even though she is already dead.

Again, better not to get too inquisitive.

Vera Farmiga is wonderful as the military officer who is responsible for giving Colter his orders. We mostly see her face on a small video screen, but she is calm and persuasive, determined to keep the disoriented soldier on track even as she shows glimpses of sympathy for his perplexing situation. In the end she is as much the hero of this piece as the soldier boy. Source Code is a fun night out, worth seeing on the big screen. It had a decent opening weekend so it is still playing pretty much everywhere. B+

Review: Rango

Paramount Pictures

Rango is a kids movie. I hate to say it; I was hoping for a crossover experience. But while the story makes an effort to appeal to adults, and has some references to classic films – in the case of Chinatown, it’s less a reference than blinking neon sign announcing “Check it out! We’re referencing Chinatown!!” – it mostly relies on Road Runner type humor to get the audience going. That works really well if you’re ten, but it’s less compelling if you no longer spend your Saturday mornings watching cartoons.

Rango, voiced by Johnny Depp, is a pet chameleon who is accidentally thrown out of the family car when the driver swerves to avoid a passing armadillo. He lands in a desolate stretch of desert, and the armadillo, a philosophical fellow, sends him off to a nearby town to find his destiny, and some water. (Yup, water; right away we’re getting that Chinatown feeling.) Along the way he meets up with Beans (Isla Fisher), a tough lizard woman with curls and a long blue prairie dress. Beans is trying to hold on to her Daddy’s ranch but it’s tough since the water supply dried up. She’s appropriately suspicious of Rango (she all but calls him a city slicker) but she gives him a lift into town, where he waltzes into the saloon and cons the locals into believing he’s a tough guy. They send him off to meet the mayor, who appoints him sheriff (not a plum job in this town, most of the sheriffs have short life expectancies) and then things start to get complicated, because the folks want their new sheriff to find out where the water’s gone, and Rango suspects the answer lies with the mayor.

All this leads to predictable silliness, posses and chases with lizard cowboys riding birds in and out of canyons (sometimes it’s as much Raiders of the Lost Ark as Destry Rides Again). But it’s mostly flash and superficial excitement, there are no moments where the story transcends its animated silliness to touch something real, in the way that Up and Toy Story did. Still, if you’re looking for a film to see with a bunch of elementary school kids, this will work. Playing everywhere, won the box office crown on a sluggish movie weekend. C

Review: The Adjustment Bureau

 Universal Pictures

The Adjustment Bureau is a cool sci-fi love story. Matt Damon plays David Norris, an up and coming New York congressman making a big play for the US Senate. Everything is on track until the New York Post publishes some old pictures of him engaging in youthful indiscretion, specifically, pulling his pants down at a party. This is enough to crush his campaign, and on election night, glum and full of self recrimination, he practices his concession speech in a swanky hotel bathroom. Then, a ray of hope: Elise (Emily Blunt) emerges quite unexpectedly from one of the stalls, where she had been hiding from hotel security, caught in the act of crashing a wedding. Carrying a half empty bottle of what is probably very good champagne, the irreverent Elise immediately recognizes David (“Aren’t you that guy who’s running for Senate?”) and proceeds to tease, flirt and cajole him out of his mood and back into fighting form. He is instantly smitten, so is she, but then security shows up and she has to run, the girl of David’s dreams disappearing down a hotel staircase. But, inspired by his brief encounter, David tosses his index cards and gives a stirring speech to his supporters. His political fortunes, though delayed, are back on track. 

But the path of true love, and Matt Damon characters, never runs smooth.  On a sunny New York morning, when David has just set out for work (his between campaigns gig) it appears that two men are tracking him. “He needs to spill coffee on his shirt by 7:05,” Richardson (John Slattery) tells Harry (Anthony Mackie) and Harry wearily agrees but then he dozes off on a park bench, missing the cue. Meanwhile, David hops a bus and miraculously, spots Elise. Sparks fly, and this time he gets her number, but then the day takes an ominous turn. David arrives at work to discover strange doings: his co-workers are frozen in time, and his friend and colleague Charlie is getting zapped by a mysterious light beam; the Adjustment Bureau is busily making changes to the fabric of fate that spilled coffee was supposed to prevent David from seeing. Richardson corrals him and then tells him the truth: his future is not his own to plan. And, incidentally, he’s not supposed to be with Elise.

Since Matt Damon has made a career of playing stubborn rogue tough guys, we all know he’s not going to let Elise slip away just because John Slattery tells him to. And so the adventure takes off, with lots of twists and turns and elaborate foot chases through Manhattan. Along the way we are asked to speculate on what choices we would make if we knew in advance what the outcomes would be: White picket fence in the suburbs? Fame and fortune, but no satisfying personal life?

Based on a Philip K. Dick short story (it's like screenwriter and director George Nolfi read the story and decided to write another chapter of his own)The Adjustment Bureau is a fun film, and a great night out in the midst of late winter movie doldrums. Damon and Blunt have crackling chemistry, Slattery’s usual ironic light touch provides welcome amusement, and Anthony Mackie is terrific as the Adjustment Bureau “caseworker” who isn't certain that the team is making the right decisions.  Playing everywhere. B

New Movies: March 4, 2011

Oscar excitement has left town, and along with it the glut of nominated films that dominate movie theaters this time of year. So welcome to the new arrivals! There are many, if you count obscure foreign and Sundance type films that are only playing in big cities. Not counting those, here’s what we got:


Now Playing in a Theater Near You

RANGO Johnny Depp plays a lizard in this live action animated tale of a pet store chameleon who gets lost in the Wild West. Depp based the character of Rango on Hunter Thompson, which is edgy, to say the least, and may be why so many critics caution that this film is probably not going to appeal to the pre-school set. It’s the first animated film to come out of Industrial Light and Magic, George Lucas’ special effects company, and that makes it worth seeing ; but wait, there’s more: director Gore Verbinski (Pirates of the Caribbean) upped the realism by having his cast act out the story as though it were a live action shoot, instead of the usual thing of calling the actors in to record their lines individually. Most of the big name critics are big time fans.

THE ADJUSTMENT BUREAU Matt Damon and Emily Blunt play star-crossed lovers in a sci-fi world that is determined to control their destinies; in order to be together, they must outmaneuver the mysterious Adjustment Bureau. Terrance Stamp and John Slattery play the mysterious evil puppetmasters. Based on a Philip K. Dick short story and directed by George Nofi (Bourne Ultimatum), The Adjustment Bureau is supposed to be a pretty good thriller and an even better love story. Generally good reviews.

TAKE ME HOME TONIGHT Topher Grace takes another stab at stardom in this story about an aimless college graduate whose life is upended when his high school crush invites him to an “epic” end of summer party. It’s sort of like American graffiti, if John Hughes had directed it in the eighties. Most critics love Topher and don’t love this film.

BEASTLY Aimed at the Twilight set, this modern take on the Beauty and the Beast fable features Alex Pettyfer (I Am Number 4) as the Beast, Vanessa Hudgens (High School Musical) as Beauty and Mary Kate Olsen as the witch. Cool. It’s all set in New York and has a Gossip Girl kind of vibe. Lukewarm reception by critics, who mostly seem to think it could have been a lot better. Well, we all know the story works.

Hall Pass and Drive Angry are also still around, even though they could barely scrape together an audience last weekend; theater owners seem to think they deserve a second chance. Oscar winner The King's Speech is in wide release and worth checking out if you haven’t seen it yet, and i f you’re in the mood for a fun thriller, Unknown is probably at a multiplex near you.

Oscar Predictions 2011

Tomorrow at around 5:40 Pacific time the first envelope will bet cracked open and we will learn who the Academy ultimately chose to award at the end of this endless award season. So what do we expect? Will the favorites win?


Here's the thing: Oscar prognostication is not an exact science - it's not a science at all. There are no exit polls; there is no Nate Silver with a team of lackeys calling Academy members to inquire as to their vote. The Academy really frowns on that sort of thing, so when people tell you they're predicting the Oscars they generally are guessing based on how many awards a film or artist has racked up so far, or they might be extrapolating from a conversation they had with someone who knows someone who actually voted, or maybe they are legitimate insiders who run the cocktail party circuit and talk about these things.


But, as screenwriter William Goldman famously said about people in Hollywood: No one knows anything. So, keeping that in mind, here are the latest rumors for the major Oscars:


Best Picture


Safe bet is still The King's Speech, but there is some talk that Social Network is staging a late rally. The assumption is that the geezers in the Academy went for King's Speech, while the younger set leaned Social Network. That would leave the decision in the hands of middle aged voters. How many of them are on Facebook?


Best Actor

Colin Firth will win this. There's no point in discussing it, although there are some sly critics handing the award to Jesse Eisenberg. I think they just want attention.


Best Actress


This one has been flip flopping between Annette Bening and Natalie Portman; Portman having won most of the earlier awards, and Bening having never won at all. Four nominations, no wins. Did the Academy go for sentiment? Doubt it. Portman will win.


Best Supporting Actor


Christian Bale, unless this is a really interesting night.

Best Supporting Actress

Again, a little excitement. Melissa Leo has won everything in the run up but her self promoting "For your Consideration" ads scuttled a lot of the community's respect. Could fourteen year old Hailee Steinfeld win? I think she could. On the other hand, Helena Bonham Carter won the BAFTA award for Best Supporting Actress and gave a terrific speech. Oscar voters like that sort of thing.


Best Director


Tom Hooper won the DGA award for King's Speech, and if the film is sweeping along he might be the winner. But there are plenty of folks who see David Fincher getting this for Social Network, even if his film doesn't get the big prize. This could be a tie breaker in the Oscar poll vote, but I'd go with Fincher.


Best Adapted Screenplay


Aaron Sorkin, Social Network. No point in discussing the other nominees. This script is so celebrated that you can download it now, if you just want to gaze at the words on the page. (For the record, I thought the writing in Social Network was terrific. I will probably download the script.)


Best Original Screenplay


Inception fans, this is your shot. Will Chris Nolan get some Oscar love? I'm saying no. This one will likely go to David Seidler for The King's Speech. Hey, it's a sweep.

Unknown

Unknown - Warner Bros

Unknown is a flashy action thriller, full of twists and turns and lots of car chases; since the film is set in Berlin it is mostly Mercedes doing all the chasing, and who knew those staid old cars could careen around corners like that? And take a bullet -- many, many bullets, right through the hood, and the engines just keep roaring.

Liam Neeson is a professor of biotechnology, come to town to deliver a paper at splashy biotech conference, very high profile because a Saudi Prince will be in attendance to promote a top secret project that might end world hunger. Prince Shada has been the target of assassination attempts -- there are bad guys opposed to ending world hunger, if they can still make a buck off starving people – so security is tight and press coverage intense.

But Dr. Martin Harris has a mishap: he is in a terrible car accident and falls into a coma for days. When he wakes up, no one seems to know who he is, including his wife Liz (January Jones). Slipping out of the hospital against his doctor’s orders, Martin tracks her down at a formal event, trailed by outraged hotel security. Perfectly coiffed and stunning in an elegant black gown, she looks right at him and says, without emotion, “I don’t know this man.” Then she calls over another guy (Aidan Quinn) and introduces him as Dr. Martin Harris.

Well, what a pickle! Martin half believes his brain was broken in the car wreck, but then an assassin starts to trail him and he figures that, whatever is going on, he isn’t imagining it. He can’t remember much about the events that led up to the car accident, but he does recall the young cab driver (Diane Kruger) who was at the wheel -- she heroically saved his life -- so he tracks her down and they team up to solve the mystery. (As cab driver Gina, an Eastern European illegal trying to stay under German police radar, Kruger is spunky and resourceful, shielding a luminous innocence behind cautious reserve. She and Neeson pair up nicely.)

There are twists and turns and twists in this film, the action is well paced and there are plenty of edge- of-your-seat moments. It doesn’t break any new ground or explore any deeper issues, but it’s a lot of fun. Rated PG-13 for “violence and action, and brief sexual content,” and while there is a lot of gunfire, there isn’t much actual bloodshed, so if that sort of thing makes you squeamish you should be okay. Unknown was the box office champ in its opening weekend, but that isn’t saying much because hardly anyone went to the movies. Still playing everywhere. B-

Oscar Countdown

The Oscar race kicked itself into high gear when the nominations were announced last month, and then quickly slid into dull predictability. Right now you could get a better argument out of who will come in second in most of the major races than who will win the gold.

Current list of favorites:

Best Picture: King’s Speech

Best Actor: Colin Firth

Best Actress: Natalie Portman 

Nothing wrong with any of these shoo ins, especially Natalie Portman, who did terrific work in a strange and challenging film. Seems to me when an actress takes chances like she did they should get some notice for it. I also have no issue with Colin Firth: he’s a great actor who has been ignored by the Academy because he’s played romantic leads a lot; it’s been good for Darcy fans but not so much for Mr. Firth’s hopes for serious acting accolades.

The Best Picture thing is the most predictable of all, the conventional wisdom being that Oscar voters can’t resist a royal drama with English accents. Now, that’s all very well if we’re a bunch of dizzy colonists, but here in the western outpost of the New World you might think that an American film or two could get some traction. Social Network enjoyed enormous hype and excellent reviews back in the fall, but it seems to be suffering a bit of backlash; some people say it was overrated, but I think it made too big of a splash too early and now it’s just worn out its welcome.

It would be pretty cool if Social Network scored an Oscar upset. It would be even cooler if Black Swan did. Not much likelihood either way, though. King’s Speech is it.

Possible toss ups:

Best Director: Tom Hooper (King’s Speech) or David Fincher (Social Network) 

All along the assumption has been that Fincher would take this. He’s a respected American director with a slew of great films to his credit, most of them too strange and scary to attract much Oscar attention. But Tom Hooper won the Directors Guild award, and the DGA winner frequently (not always – check with Spielberg) goes on to win the Oscar. Still, most prognosticators (and bookies) call this one a toss up.

Best Supporting Actor: Christian Bale (Fighter) or Geoffrey Rush (King’s Speech) 

Christian Bale has won pretty much every available award in this category, but if there is a King’s Speech sweep he could get pushed out of contention. Rush was excellent, but he has won before and Academy voters are known to honor rookies in supporting categories.

Best Supporting Actress: Melissa Leo (Fighter) or Hailee Stanfield (True Grit)

This is the only category where anything interesting is happening. Hailee Steinfeld was widely considered a possible Best Actress contender; the combination of her supporting status and the fact that True Grit has ten nominations could push her to the top of this heap. Not a big chance of that, but there is a bit of momentum going her way.

That’s the big six. Oscar Ballots are due two weeks from today so, if anything is going to shift, it’s got to happen soon.

Another Year

If I told you that Another Year is about an old married couple you might not want to go and see it, which would be a shame because this is a fine film, a lovely meditation on life and its adventures – or lack of them. It is also a refreshing antidote to the crash bang nonsense that often passes for Hollywood entertainment. So, full disclosure – Another Year is about an old married couple, Gerri (Ruth Sheen) and Tom (Jim Broadbent) – we never learn their last names, as though when the film begins we already know then too well to bother with formalities. Much of the action takes place in their cozy London house, comfortably decorated with a lifetime of good memories. Tom and Gerri garden, they cook dinner, they sip wine, they hang out.

And they have friends who aren’t nearly as content with their lives.

The film is divided into four parts, identified by the season, the passage of time punctuated by visits to Gerri and Tom’s “allotment,” a plot of land somewhere in town where they work their most ambitious gardening. On a wet spring evening they host Mary, Gerri’s long time co-worker, for dinner; Mary, played with searing, heartbreaking intensity by Lesley Manville, is a middle aged woman, clinging to her youth, disappointed by her life. She drinks too much and carries on about her great love, the one who got away, and we have the sense that all this has happened before, that Gerri and Tom have patiently listened to Mary rant many times. Then, a few months later, Tom’s friend Ken (Peter Wight) shows up with much the same story, drinking his way through dinner, complaining about his life, showing little interest in doing anything about it. (Wight does remarkable work as Ken, somehow making an unattractive, unappealing character sympathetic).

Now, if you think you can tell where this is going you are wrong; Another Year moves slowly and lingers lovingly on the routine activities of life, but it is not predictable. Sometime during the summer segment of the film Gerri and Tom’s son Joe (Oliver Maltman) shows up; he’s a thirty year old attorney who is often too busy to visit with mum and dad, but when he arrives it’s clear the family is close and has a happy history. Unlike most of the other people in this movie Joe is looking forward to the unexplored future of his life, instead of lingering unhappily on the past, and when, in autumn, he surprises his parents by arriving at their door with a girlfriend (a fresh and appealing Karina Fernandez) in tow, they are delighted even as Katie’s  appearance throws the disappointments of their friends’ lives into starker relief.

There is a simple, charming elegance to this film. Nothing is overstated, and we arrive in the story as though we always belonged there anyway. When Tom pours Gerri some wine we want to hold up our glass, and when Mary starts to rant we wish we could quietly excuse ourselves to our hosts and head on home; the film is that personal and intimate. But it is also thoughtful and refreshing in its honest portrayal of regular people, well worth a night at the multiplex. A

Here Comes Oscar

Tomorrow the Academy of Motion Picture Arts and Sciences will announce nominations for the 83^rd Academy Awards, and for no good reason at all I will get up at the crack of dawn to watch them do it. 

I think it’s fun. Go figure.

So who’s got a shot at Oscar?  There are some obvious suspects in the Best Picture Category, specifically The Social Network, The King’s Speech, Inception, and Toy Story 3.  The last two will get in because they are precisely the sort of movies that the Academy had in mind when they expanded the field of Best Picture Nominees to ten.  Neither one will win; barring an enormous upset (and that wouldn’t be so bad, upsets make the awards interesting) either The King’s Speech or Social Network will get the award.  There is a lot of huffing and puffing today because the Producer’s Guild bucked the trend and honored King’s Speech for Best Picture instead of Social Network, but it’s still a toss-up between the two for Oscar gold.  The films that will be honored just to be nominated include True Grit, The Fighter, Black Swan, Winter’s Bone, The Kids Are All Right, and The Town, with any of the last three possibly vulnerable to a surge by 127 Hours.  I’m not feeling that, though; 127 Hours seems to have dropped under the radar and stayed there.

Best Actress: Natalie Portman will be nominated and surely win for Black Swan; Annette Bening will be gracious and say she is honored to be included in such a stellar group of actors – and it should be a stellar group.  If the youthful Academy voters have any influence, we will see nominations for Jennifer Lawrence for Winter’s Bone and Hailee Steinfield for True Grit.  Both of them are deserving and would get a boost from Oscar notice.  Nicole Kidman will probably nab the last spot for her performance in Rabbit Hole, even though no one is going to see it, but folks like Michelle Williams (Blue Valentine) and Julie Anne Moore (The Kids Are All Right) could slip in.  The Blue Valentine thing is kind of interesting, because in spite of the rave reviews Michelle Williams and Ryan Gosling received for their performances, neither one was nominated by the Screen Actors Guild.  Most prognosticators think that precludes them from an Oscar nom, since there is a lot of overlap between the Guild and members of the Academy’s Actors Branch.

Best Actor: Colin Firth will be nominated and win, with Jesse Eisenberg (Social Network), Jeff Bridges (True Grit) and James Franco (127 Hours) joining the crowd.  The last spot is up for grabs;  Mark Wahlberg (The Fighter) is a possibility along with Robert Duvall (Get Low) and Javier Bardim (Biutiful) in the mix.  But you can’t discount Ryan Gosling for Blue Valentine in spite of his SAG snub.  Could happen.  

As usual, the Best Supporting races have the most intrigue.  Hailee Steinfield  (True Grit) might end up in this category, even though most observers call her performance lead instead of supporting.  If she does, she will likely join Mellissa Leo (The Fighter), Helena Bonham Carter (King’s Speech), Amy Adams (The Fighter) and Mila Kunis (Black Swan).  This will edge out Jackie Weaver, who has received a lot of attention for her role in Animal Kingdom, an Australian film that didn’t get much big screen time.  Winner in this group is anybody’s guess. 

In the Supporting Actor category, expect Christian Bale to be nominated for The Fighter, as well as Geoffrey Rush for The King’s Speech.  One of these two will win.  Also likely: Mark Ruffalo (The Kids Are All Right), Jeremy Renner (The Town) and Andrew Garfield (Social Network).  There’s rumors of a late “surge” by Matt Damon for True Grit, but don’t bet on it. 

Those are the four major categories, the only other biggie is Best Director, which will likely include David Fincher (The Social Network,) Christopher Nolan (Inception), Darren Aronofsky (Black Swan), Tom Hooper (The King’s Speech), and David O. Russell (The Fighter) unless the Coen Brothers (True Grit) pop in and Knock out David O. Russell.  That doesn't look likely from here.

Mystery is over tomorrow morning. Mystery is over, and the over hype begins.  Oscar Season is on.

The Social Network

The Social Network is a fast paced, gripping, thoroughly entertaining roller coaster ride of a movie. It tells a big story but it starts out small, in a bar just down the street from Harvard, where Mark Zuckerberg (Jesse Eisenberg) and his girlfriend, Erica Albright (Rooney Mara), are having a conversation – more like an argument – over a couple of beers, discussing Mark’s intense desire to join one of Harvard’s exclusive social clubs. The dialogue is so sharp, so witty, and so fast paced that I actually leaned forward in my seat to catch it all, and as soon as the scene was over I wanted to watch it again. And that wasn’t even the best part of the film.

The Social Network is, more than anything else, the story of one young man’s outsized drive and determination to pursue an idea. “The Facebook” is a narrow concept at first: “I want to take the entire social experience of college and put it online” Zuckerberg explains, and he starts out only allowing Harvard students access to the site, but he quickly sees the value of opening it up to other colleges, and then to the world, essentially putting the entire social experience of everyone online. The film shows the early, frantic days of programming in Zuckerberg’s Harvard dorm room, and then follows Facebook’s founder when he leaves school and heads boldly off to Silicon Valley, quickly evolving from wunderkind to titan. It’s a big story but it’s told on a really personal level, Zuck hanging out in his shabby dorm room with his geeky roommates, swigging beer and trying to come up with an online experience that will make his brainy upscale classmates take notice.

But there’s fallout, naturally – whenever anyone comes up with a new idea there is someone else who claims to have thought of it first. So the film time shifts back and forth between the high energy, untamed story of Facebook’s invention, and deadly quiet legal conference rooms where wounded parties demand that Zuckerberg give them their share of the wealth. Among the plaintiffs is Eduardo Saverin, played with tremendous honesty and vulnerability by soon-to-be-Spiderman Andrew Garfield. In the film, Saverin is Zuckerberg’s best friend and collaborator, but their visions for the direction of Facebook drive them apart – or, more accurately, lead Mark to push Eduardo away. Eduardo is particularly unhappy when Zuckerberg decides to take advice from Sean Parker, the inventor of Napster who has very big picture ideas for the future of Facebook. (Parker is played by Justin Timberlake in a serious star turn. The guy is great.)

Is The Social Network an truthful depiction of the founding of Facebook? Probably on some levels. Screenwriter Aaron Sorkin says he was writing a good story, not a factually accurate account. But he also says that the filmmaking team got close enough to the truth to make sure that the bottle of beer movie Zuck pulls from his dorm room ‘frig is the same kind that the real Zuckerman preferred. Jesse Eisenberg watched YouTube videos of Facebook’s founder in order to nail his carriage and mannerisms, although he built the character from the script, not real life research. (Eisenberg does tremendous work here, creating a kind of geek anti-hero that we can’t help but root for, even when he is at his most ruthless. I hope he gets an Oscar nod.) But while the film may not be completely accurate it is always completely authentic; director David Fincher pulls you into the action and makes you believe.  Don't see The Social Network to learn the truth about the founding of Facebook; see it because it is a terrific film, a great cinematic thrill ride. Playing everywhere. A

Photo credit: Relativity Media

Money Never Sleeps, Jamie Lee Curtis, and Owls

The big kahoona this weekend is the sequel to 1987's Wall Street. This one is called Wall Street: Money Never Sleeps, the original name plus a pithy qualifier, summer blockbuster style. Critical reception to the new picture has been mixed, apparently it's not enough to be Oliver Stone anymore -- someone even suggested the controversial director has gone soft. But the cast is interesting, with Michael Douglas reprising Gordon "Greed is Good" Gekko, and Shia Lebeouf playing his latest acolyte, Jake Moore. Carey Mulligan mixes things up as Winnie, Gekko's estranged daughter and Jake's fiancée. Playing in lots and lots of theaters. Legends of the Guardian is also opening - I think of it as the Owl movie - it's a fantasy tale that has critics praising the 3-D visuals but not much else. You Again is a mother/daughter Mean Girls story that apparently is awful, even though it has Jamie Lee Curtis and Kristin Bell. Left over from last week: The Town, Devil, and Easy A. I will definitely see Wall Street, and I might try to catch Easy A. 

Next week The Social Network opens.  If early reviews are for real, this film is perfect.  Heaps of praise, and nothing else.  Should be interesting.

Critical Summaries

• Wall Street: Money Never Sleeps: Metacritic 59; Rotten Tomatoes 54

• Legends of the Guardians: Metacritic 56; Rotten Tomatoes 49

• You Again: Metacritic 27; Rotten Tomatoes 14

• The Town: Metacritic 74; Rotten Tomatoes 94

• Devil: Metacritic 44; Rotten Tomatoes 41

• Easy A: Metacritic 72; Rotten Tomatoes 85

Catfish

Catfish is a documentary, of sorts, but not like the informative ones that warn of disaster, or the entertaining, message-y ones in the style of Michael Moore. Catfish feels personal, like a home movie made by some very talented friends, a project that started out as a goof but took off when they realized they had stumbled onto a remarkable story. 

And this is how it starts: Nev Schulman is a twenty something New York City photographer specializing in elegant shots of dancers. One day he gets a package in the mail from Abby, an eight year old girl who lives in Michigan; it’s a watercolor painting of one of his photographs that had recently appeared in a national magazine. Nev is flattered and decides to encourage Abby; they exchange emails and become friends on Facebook, and he sends her more pictures to paint. Before long he is also Facebook friends with Abby’s mother, Angela, her father, her brother and, most notably, her nineteen year old sister Megan, who is very interested in Nev. The two launch into a relationship, using Facebook, text messages and actual phone calls to pursue what becomes a very steamy connection. This is what gets Nev’s brother, Rel and his partner Henry to turn on the cameras; they figure they have an opportunity to chronicle a 21st century Internet love story.

There are a lot of great things about Catfish, but my favorite is that the story unfolds for the audience exactly the same way it did for Nev and Rel and Henry; as the layers peel away and the virtual becomes real, we are right there with them. Rel said he always wanted to make a movie about his brother because he’s “just very charismatic and gets into a lot of trouble and gets himself into situations.” Big brother is right – Nev is a natural on screen, disarmingly honest, and we can’t help but root for him even when he is at his most reckless. Is it a story for our time? Well, yes and no: it’s about love, and loneliness, timeless human issues; but it’s also about how the modern virtual world provides unexpected outlets to cope. Catfish was a big hit at Sundance and it opens in a lot of cities around the country September 24. Check it out, it’s an interesting, fun time at the movies - but one important caveat: don't try to find out (or even guess) the ending; you'll ruin your own fun. B+






Image credit: Rogue

The Town, The Devil, and Emma Stone

It's been a long hot dry spell, but finally some high quality films are hitting the multiplex. Big opener this weekend is The Town: Ben Affleck stars in and directs a gritty crime thriller that is getting good to excellent reviews. (If you pay attention to movies at all, you’ve heard about this one; my film buff daughter turns 22 tomorrow and all she wants to do is see The Town and then have us take her out to a cool, pricey bar for dinner. This is part of a broader scope of birthday events that do not include her parents, but, we're happy she slotted us in.) In spite of the early critical enthusiasm, the LA Times reports that Easy A, the teen caper comedy very loosely based on The Scarlett Letter, is likely to beat The Town for the weekend box office crown. Apparently teen age girls are very reliable moviegoers. But, I imagine you saying, The Town has Jon Hamm! Don't teenage girls want to see Jon Hamm? Well, maybe not. He is like, 39, or something. Easy A has gotten some good reviews, most of the critics attributing the film's quality to the performance of its star, Emma Stone. Devil, a scare fest based on an idea from M. Night Shyamalan but written and directed by somebody else, will also hit screens (lots of them) this weekend. It’s about a bunch of people stuck in an elevator with Lucifer himself, and whenever the power flickers someone gets offed. No doubt there’s a twist at the end. Hardly any critics have seen this film, the few reviews out there are middling to bad.

If you happen to live in New York or Los Angeles, you can catch Never Let Me Go, playing in a handful of locations.  Based on the novel by Kazuo Ishiguro, it's a sci-fi tale about cloned children who are raised to become organ donors.  Early reviews say it is slow moving but brilliant.  Carey Mulligan and Keira Knightly star.  Also in limited release is a French movie called Heartbreaker; it's an entertaining old school romantic comedy, more Cary Grant/Doris Day than Jennifer Aniston/whoever. Fun to watch.  And if none of these appeal to you well, there's always Resident Evil, still playing everywhere.

My choices: The Town, Never Let Me Go, Easy A.  In that order. 

What to See: September 10, 2010

Last week the box office crown went to The American, the George Clooney picture that everyone went to see and no one liked. Don’t expect it to repeat this weekend. New on Friday: the fourth Resident Evil movie, where Milla Jovovich keeps trying to save the world, only this time in 3D, so she will be tossing weapons around and it will seem like they are flying right out of the screen. Could be fun if you're into that sort of thing. There’s also The Virginity Hit, a movie shot YouTube style about a teenager trying to lose his virginity and his friends who want to film it. It’s not getting a lot of love in the early reviewing , even though it was produced by Will Farrell and Adam McKay, the Funny or Die team. Apparently it’s more dead than funny. If you’re curious about whatever it was that happened to Joaquin Phoenix, there is a documentary about him opening this weekend, called I’m Still Here. Directed by Casey Affleck, it has been screened to mixed reviews at a film festival or two, but even critics who admire the film find it quite strange. Some think the whole thing is a hoax, and Phoenix’ best performance. That would be ironic.

Box Office Derby August 30

The Last Exorcism and Takers battled it out for the box office crown this weekend.  It looked like Exorcism was going to nab it, but at the last minute Takers pulled ahead.  Neither film is very good, though, so it hardly matters except to T.I., who starred in and produced Takers and wants to be sure that everyone knows his movie is number one.  Otherwise, this weekend's results look a lot like last weekend's, just with these two new movies on top.  So you got your Expendables, your Eat Pray Love, that stuff.  Vampires Suck sank a bit, and Scott Pilgrim slipped off the top ten.  Just not enough geek love.  Coming up the next few weeks we'll see serious fall films start to hit the theaters (aka, Oscar bait) and that should make movie going more interesting.  That will be a relief.

What to See -- August 27

There's a movie coming out this weekend called The Last Exorcism; I saw a trailer and it looks really scary. Set in rural Louisiana (where else?) it's about a preacher who makes the trek to an isolated farmhouse to save the soul of a demonic girl. Only he doesn't really believe in this stuff, so he brings a documentary crew along to expose his own fraud -- except this time, the possession seems to be real. Cool premise; decent, if limited, early reviews. Then there's Takers, about a bunch of seasoned criminals (including rapper T.I. and Chris Brown) determined to pull off one last heist, and we all know how that kind of thing usually turns out. Matt Dillon plays the "hardened" detective determined to stop the criminal escapade. Apparently light on plot but good with the action; reviews have been mixed, mostly bad. And there's that Avatar re-release.

These are slim pickings, so here are a couple of other thoughts: if you're looking for some movie fun, see Scott Pilgrim or The Other Guys. Both entertaining, lighthearted films. If you want something more challenging, look for a showing of the excellent (but slow moving) Winter's Bone, or the also good Kids Are All Right. That should do it.

Avatar Redux

OK, this is odd: James Cameron is re-releasing Avatar this weekend, with nine minutes of new footage showing Pandorans hunting sturmbeests, a fantastical creature that looks a lot like a stegosaurus. Do Pandorans eat these things? We don't know, but anyway now that the hunting scene is back Cameron has slipped the sturmbeests into a few other spots as well; I guess he thought we would have been confused before, if we were watching a big busy Pandoran battle and a couple of stegosauruses lumbered through. Cameron is also worried because Alice in Wonderland and How to Train Your Dragon opened shortly after Avatar (the first time), and he believes this caused a dearth of 3D screen availability for all those people who still wanted to pay a premium to see his movie. So he's putting it out there again, just to help his disappointed fans. And to show off the sturmbeests.  (Wanna see a sturmbeest?  Click here.  I would post it but I'm afraid James Cameron would get mad.)

In other box office news, turns out people are tired of paying a premium to see 3D movies; Piranha 3D had disappointing numbers last weekend, and Step Up 3D and that Cats and Dogs movie also failed to impress. Overall, the movie business is on track to match last summer's box office numbers but actual ticket sales are down -- Memorial Day weekend had the worst movie attendance numbers since 1993.  (Of course, it may also have had the worst movies since 1993.  Sex and the City 2, anyone?  Prince of Persia?)